Vox Nova At The Movies: Mary Shelley’s Frankenstein

I have a special fondness for horror movies. When I say this, I do not mean I like all that comes out in the name of horror. Most slasher films I find disgusting and not worth my time (although there are a couple, I admit, I rather enjoy). But here I mean those films which follow the “classical” representation of the genre (be it a monster movie, a supernatural thriller, or some existential horror as found in the Lovecraft tradition). The genre is capable of gearing towards existential questions, sometimes in a way better than any other, because it can do so in a believable and yet entertaining fashion. One of the better examples of this is Mary Shelley’s Frankenstein.

Frankenstein has always been one of the most philosophically minded horror stories. While we think of it as a story death and the conquest of death, that is due to the influence of the Universal Movie version of the story staring Boris Karloff.

The original version of the story, instead of being a question of death and our ability to conquer death, questioned scientific progress and whether or not we have the wisdom to handle it. The story suggested we might have to face the horror of our actions similar to Promotheus of old. It wants us to consder the limits we must establish for ourselves in our pursuit for scientific knowledge and achievement. Should we create life? What responsibility do we have if, in imitation of God, we make a new form of life in our own image?

Kenneth Branagh’s version of the story takes cues from both the classical novel and the modern reinvention of the story. His Frankenstein wants to conquer death, and he avoids all the moral questions placed before him about his pursuits. When he succeeds, of course, he does not know what it is he has done, and does not foresee the consequences of his actions. But there is more to the story than Frankenstein’s personal journey. The spiritual journey of the monster itself is fascinating, and this is what makes this a superior film. Indeed, the monster is a philosopher. He is looking for meaning for his life, and he thinks his creator can help provide it to him, or at least help him find happiness. One of my favorite scenes is when the monster abducts Frankenstein, and asks him tough questions.  He even laments the fact that he has not been given a proper name. 

The movie is not perfect, but, for me, there is so much in it to like in it that its faults are easily overlooked. I appreciate how much research was done on classical medicinal lore and how it was put into play into the movie itself. These details are as enjoyable to watch, especially since they deal with aspects of the ancient world I like to explore. How many people have read Paracelsus? How many understand the role Paracelsus has on the Frankenstein story? Yet here, the connection is made very clear. 

Sadly, the film did not get the reception it should have had. I find it to be the best version of the Frankenstein story to be filmed to this date (and I say this as a fan of the stories done by Hammer Films).

3 / 4 stars.

For a bit of fun, here is a video someone made using footage from the movie: