#TIFF50 Review: Frankenstein (Special Presentations)

By John Corrado

Guillermo del Toro’s Frankenstein, the director’s long-awaited adaptation of the Mary Shelley novel, begins in the icy Arctic. Victor Frankenstein (Oscar Isaac) is being hunted by the monster of his own creation (played by Jacob Elordi), taking refuge on a Viking ship.

In telling the combined stories of the mad scientist, and the creature that he gave life to who is now pursuing him, del Toro turns the classic story – already adapted many times for the screen – into a mix of misunderstood monster movie and dark fairy tale.

We are all familiar with this story, but del Toro infuses it with his own sensibilities. The filmmaker clearly has an emotional understanding of the creature himself, and it shines through in how he realizes his dream project, including giving the monster agency to tell the story in his own words.

After this Arctic-set prologue, the film takes us back to Victorian England, where Dr. Frankenstein is working clandestinely with his assistant and chief financier Henrich Harlander (Christoph Waltz) to create life. Their research is considered scandalous by the scientific community. They get bodies for scientific research, and scour battlefields, with the scientist in search of the perfect specimen. Long limbs are ideal, he explains.

Isaac’s mad scientist portrayal is fully realized in his own version of the “it’s alive!” moments made famous by Colin Clive in the classic 1930 James Whale version, when a lightning storm breathes life into his stitched together creation. Despite being completely invisible under the layers of makeup and folds of skin, Elordi breathes such life into his portrayal of the monster that it feels like a new discovery.

There is discussion of whether or not this creature has a soul, but we watch one emerge through Elordi’s portrayal. It’s fascinating, surprisingly moving work. Yes, del Toro is playing with the duality of who is the real monster. But it’s clearly the angle that has attracted him most to this story for much of his career.

At 149 minutes, the film does feel a bit long in places, especially in the first hour. But it’s captivating overall. The film features stunning production design, including the lavish look of Victor’s lab (it was filmed between Toronto and Scotland). It’s all beautifully captured through Dan Laustsen’s often striking cinematography.

The frequently visually dazzling film is topped off with an absolutely enchanting score by Alexandre Desplat, that floats over every scene, at once evoking classic Hollywood and a fairy tale. The final moments, that philosophically speak to what it means to be human, help the film reach a deeper emotional place.