Del Toro’s Frankenstein: A Lavish Reimagining of the Timeless Tale

frankenstein
Directed by Guillermo del Toro, Now playing in selected cinemas in the UK and US, streaming on Netflix beginning November 7th

Guillermo del Toro has long been captivated by the intersections of science, mythology, and monsters. In his latest film, frankenstein, he finally explores Mary Shelley’s essential text—the 1818 novel widely regarded as the foundation of both science fiction and modern horror.

The outcome is visually lavish, delivered with intensity, and at times thought-provoking, though its pacing and certain design choices reflect the influence of Netflix, the film’s financier.

Shelley’s tale of Victor Frankenstein, the brilliant yet reckless scientist seeking to animate lifeless matter, remains one of the most poignant cautionary narratives regarding the allure and risks of scientific ambition. In del Toro’s rendition, Oscar Isaac portrays Victor as a charismatic and obsessive character, driven by his personal and intellectual struggles into unknown territories.

Isaac’s performance captures both arrogance and fragility, while the surrounding ensemble enriches the narrative. Charles Dance plays Victor’s authoritarian father, and Mia Goth delivers a standout performance as the poignant and compassionate Elizabeth Lavenza.

The film truly shines in the laboratory scenes. Del Toro, alongside production designer Tamara Deverell, crafts an environment echoing a 19th-century anatomical theater, equipped with towering instruments and rudimentary electrical devices. The representations of anatomy and experimental medicine are stylized, yet maintain an element of realism. Authenticity is embedded in the nuances of ligation, scalpel usage, and surgical procedures.

However, Victor’s excess may risk the film’s realism. The abundance of fresh corpses at his disposal stretches believability, yet his actions resonate with Romantic-era debates on electricity, vitalism, and the boundaries of life and death.

The creature, created and forsaken by Victor (played by Jacob Elordi), deviates from the iconic giant with a neck bolt seen in the 1931 film frankenstein. Instead, we encounter a leaner, scarred figure brought to life through prosthetics and CGI. While effective, certain close-ups—particularly when the creature lies still—evoke discomfort due to his jawline. Additionally, his appearance, imbued with a brooding “emo” aesthetic, aligns more closely with contemporary tastes than Shelley’s 19th-century context.

In many ways, this aesthetic continues the early films’ fascination with biology as bricolage, viewing the body as a site for transformation, as seen in water shape. Even through a modern lens, this creature exemplifies our enduring interest in reconstructing life from remnants—a scientific ambition that remains as mesmerizing today as it was in Shelley’s era.

Story-wise, frankenstein may falter in places. Del Toro dedicates his 150 minutes of screen time to Victor’s formative years, intellectual development, and gradual immersion into his quest for conquering death. While this extensive focus fleshes out Victor’s psyche, it may result in a sluggish pacing that some viewers could find overly drawn-out. Additionally, the creature’s strength—capable of lifting a ship as if it were driftwood—runs the risk of exaggeration, potentially undermining the film’s serious examination of scientific potential.

Nevertheless, the central theme remains pressing. In the end, frankenstein is less about the mechanics of resurrection and more about society’s response to the unfamiliar. The film dazzles with consistent visual allure, featuring Dan Laustsen’s cinematography that highlights chiaroscuro scenes of both laboratories and landscapes, along with Alexandre Desplat’s score oscillating between eerie crescendos and tender motifs of longing.

Del Toro’s oeuvre includes various ambitious projects; however, frankenstein stands as a sincere and provocative exploration of one of science’s most profound fables. It compels us to question not only whether we can engineer life, but also whether we can coexist with what we’ve created.