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When Cinemafantastique interviewed Kenneth Branagh on his recently-released version of Frankenstein, the writer asked Branagh to describe his viewpoint, his thematic slant on the story. Quite a natural question for a film maker to be asked, as the notions of theme and point of view are not optional, they are mandatory. A director must decide beforehand on the ideas he wishes to set forth, and craft the means to set them forth clearly. When dealing with a classic, oft-filmed work, he must choose a new slant, and exploit themes that have not been emphasized before (at least, in quite that way), if his work is to be at all original.

Branagh's breezy response was something on the order of, "I didn't really have a theme in mind, I just wanted to tell a good story."

This is precisely why Branagh's version fails: is an unanchored, misguided mess. Herewith is a barely coherent hash of styles, a series of boneheaded choices (a snotty Helena B. Carter as the "liberated" Elizabeth Frankenstein), a tangle of hanging threads -- beautiful clothes with no one in them; beautiful sets that form a backdrop to utter nonsense.

And it is dreadfully miscast. Branagh's ego trip as Dr. Frankenstein aside, the worst performance of all is that of Robert DiNiro as his creature. In this role, DiNiro proves that Pauline Kael was right all along. For years, Ms. Kael kept telling us that this mediocre talent was considered a great actor just because everyone said he was. In other words, he had been in the right place at the right time, and had stumbled into his undeserved reputation by pure chance. (Check out the way he sleeps through his role in Casino.) The spectacle of Frankenstein's creature mumbling in that repellent, thick New Yorkese is really one of the sorriest moments in all of filmdom -- there is simply no excuse for such a thing. Did anyone bother to tell him the story is set in Switzerland? I saw this movie in New York, at an East Side theater, and the audience was giggling nervously every time DiNiro opened his mouth. Why nervously? Because they "know" DiNiro is a "great" actor... Because they were embarrassed, pure and simple.

And they should have been. Branagh's desire to "tell a good story," while arrogantly disregarding the most basic elements of storytelling, quite naturally produced the opposite effect. In short, it produced an embarrassment.

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I didn't appreciate this film until the second viewing, when I saw it on widescreen. Three viewings later, I have nothing but the highest regard for this Frankenstein rendition which is still, as other reviewers have pointed out, the most underrated of movies.

One MUST see this on widescreen DVD to full appreciate the incredible visuals. But this film is a lot more than eye candy. Supposedly, it was very close to Mary Shelley's book, which is the best compliment you can give it.

I liked the fact that the "monster" could talk and comprehend and, frankly, I liked the revenge factor and fact the monster decided his fate, not hysterical townsfolk as in the original Boris Karloff film (which has a sadder ending.)

This version, in my humble opinion, also had a more appropriate ending: the monster and his creator both dying together.

All the main characters acted the way you would think they would, meaning there was no ridiculousness here, as so often is the case in horror films. In other words, there was great realism put in a story that is a famous far-fetched-type of tale. To be fair, there are some scenes in which you wonder how the monster got where he did (inside homes, etc.) without being seen....so, to say there weren't SOME credibility issues would not be true...but overall, no complaints here.

I'd like to put a quick plug in here for the music, too. Wonderful sweeping classic music complements the astounding visuals. Add an involving story that is tough to put down once you start viewing, and you have one of the most undeservedly-panned movies of our time.

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The pursuit of knowledge is at the heart of Frankenstein, as Victor attempts to surge beyond accepted human limits and access the secret of life. Likewise, Robert Walton attempts to surpass previous human explorations by endeavoring to reach the North Pole. This ruthless pursuit of knowledge, of the light, proves dangerous, as Victor’s act of creation eventually results in the destruction of everyone dear to him, and Walton finds himself perilously trapped between sheets of ice. Whereas Victor’s obsessive hatred of the monster drives him to his death, Walton ultimately pulls back from his treacherous mission, having learned from Victor’s example how destructive the thirst for knowledge can be.

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18/25
sparknotes.com

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August 5-13-19

Walton tells his sister that his ship is stuck in an ice field far from land.
He then says that the crew had seen a gigantic man trailing a dog sled team passing really close to their ice bound ship.
The following morning finds a man floating on an ice flow near their ship.
The survivor is Victor Frankenstein, who will tell Walton his own story.

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July 7

Walton writes to his sister that his ship is passing through the ice fields and that the weather is warmer than expected.
He talks about normal ship operations in the Arctic Sea and that there aren't any significant incidents.
Walton ends the letter by saying goodbye to his sister.

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28 march

Walton collects some sailors.
Walton feels lonely.
He needs a friend who can support him, tell him if he's wrong and help him.
Even if he's discouraged because of the need of a friend he tries to ease the situation by writing to his sister and he decides to sail anyway.

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December 11-17
St. Petersburg

Walton is looking for a passage through the Artic Ocean to the North Pacific Ocean.
He decides to find a crew and a vessel.
He will sail in June.
He will soon sail to Archangel, to prepare the expedition and hire a ship.
Walton tells his sister that if he succeeds he won't return in months or years. If he fails he will be home sooner or never.

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Revenge, Prejudice, Human Rights.

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The creature begins by recalling his deep and tormenting desire to speak to the cottagers, who impress him with their gentleness and simplicity. He hesitates, however, as he is fearful of incurring the same kind of disgust and cruelty that he experienced at the hands of the villagers.

In observing the family, he discovers that they suffer from great poverty. The two young people are very generous with the old man, and often go hungry so that he might eat. The creature, greatly touched by this, ceases to take from their store of food, even though he is terribly hungry himself. He begins to cut their firewood for them, so that the young man, whose name is Felix, will no longer have to.

The creature spends the entire winter watching the cottagers, and grows to love each of them passionately. He attempts to learn their language, which he regards as "a godlike science." At first, he makes little progress. Every act of the cottagers, however banal, strikes him as miraculous: to watch them read aloud, or play music, or simply speak to one another, delights him immeasurably. Though he realizes that they are terribly unhappy, he cannot understand why: to him, the family seems to possess everything one could want: a roof, a fire, and the glories of human companionship.

Upon seeing his own reflection in a pool of water, the creature becomes even more certain that he will never know such happiness; he finds his own face to be monstrous, capable of inspiring only fear or disgust. Nonetheless, he dreams of winning the love of the cottagers by mastering their language; in this way, he hopes, he can reveal to them the beauty and gentleness of his soul.

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Robert Walton, an English adventurer, undertakes an expedition to the North Pole. While on this expedition (which has been a lifelong dream of his), Walton corresponds with his sister by letter. Amid the ice floes, Walton and his crew find an extremely weary man traveling by dogsled. The man is near death, and they determine to take him aboard. Once the mysterious traveler has somewhat recovered from his weakness, Robert Walton begins to talk to him. The two strike up a friendship (Walton is very lonely and has long desired a close companion). The man is desolate, and for a long while will not talk about why he is traversing the Arctic alone. After becoming more comfortable with Walton, he decides to tell him his long-concealed story.

The speaker is Victor Frankenstein, for whom the book is named. He will be the narrator for the bulk of the novel. Born into a wealthy Swiss family, Victor enjoyed an idyllic, peaceful childhood. His parents were kind, marvelous people; they are presented as shining examples of the goodness of the human spirit. His father, Alphonse, fell in love with his wife, Caroline, when her father, a dear friend of his, passed away. Alphonse took the young orphan under his care, and as time passed they fell in love. He provides for his wife in grand style. Out of gratitude for her own good fortune, Caroline is extremely altruistic. She frequently visits the poor who live in her part of the Italian countryside. One day she chances upon the home of a family who has a beautiful foster daughter. Her name is Elizabeth Lavenza. Though they are kind, the poverty of Elizabeth's foster parents makes caring for her a financial burden. Caroline falls in love with the lovely girl on sight, and adopts her into the Frankenstein family. She is close in age to Victor, and becomes the central, most beloved part of his childhood. Elizabeth is Victor's most cherished companion. Their parents encourage the children to be close in every imaginable way Â as cousins, as brother and sister, and, in the future, as husband and wife.

Victor's childhood years pass with astonishing speed. Two more sons, William and Ernest, are born into the family. At this time, the elder Frankensteins decide to stop their constant traveling: the family finally settles in Geneva. Though Victor is something of a loner, he does have one dear friend: Henry Clerval, from whom he is inseparable. The two have utterly different ambitions: Victor has developed a passion for science, while Henry longs to study the history of human struggle and endeavor. Eventually, Victor's parents decide it is time for him to begin his university studies at Ingolstadt. Before his departure, Victor's mother passes away. On her deathbed, she tells Victor and Elizabeth that it is her greatest desire to see the two of them married. Victor leaves for university, still in mourning for his mother and troubled by this separation from his loved ones.

Meanwhile, in Geneva, life goes on. Because Caroline was so generous, Elizabeth learns to be gracious as well. When she is old enough to know her mind, she extends housing and love to a young girl named Justine, whose mother dislikes her and wishes to be rid of her. Though Justine is a servant in the Frankenstein household, Elizabeth, Ernest and William regard her as a sister.

At Ingolstadt, Victor's passion for science increases exponentially. He falls into the hands of Waldeman, a chemistry professor, who excites in him ambition and the desire to achieve fame and distinction in the field of natural philosophy. Thus begins the mania that will end in destroying Victor's life. Victor spends day and night in his laboratory. He develops a consuming interest in the life principle (that is, the force which imparts life to a human being). This interest develops into an unnatural obsession, and Victor undertakes to create a human being out of pieces of the dead. He haunts cemeteries and charnel houses. He tells no one of this work, and years pass without his visiting home. Finally, his work is completed: one night, the yellow eyes of the creature finally open to stare at Victor. When Victor beholds the monstrous form of his creation (who is of a gargantuan size and a grotesque ugliness), he is horror-stricken. He flees his laboratory and seeks solace in the night. When he returns to his rooms, the creature has disappeared.

Henry joins Victor at school, and the two begin to pursue the study of languages and poetry. Victor has no desire to ever return to the natural philosophy that once ruled his life. He feels ill whenever he thinks of the monster he created. Victor and Clerval spend every available moment together in study and play; two years pass.

Then, a letter from Elizabeth arrives, bearing tragic news. Victor's younger brother, William, has been murdered in the countryside near the Frankenstein estate. On his way back to Geneva, Victor is seized by an unnamable fear. Upon arriving at his village, he staggers through the countryside in the middle of a lightning storm, wracked with grief at the loss of his brother. Suddenly, he sees a figure, far too colossal to be that of a man, illuminated in a flash of lightning: he instantly recognizes it as his grotesque creation. At that moment, he realizes that the monster is his brother's murderer.

Upon speaking to his family the next morning, Victor learns that Justine (his family's trusted maidservant and friend) has been accused of William's murder. William was wearing an antique locket at the time of his death; this bauble was found in Justine's dress the morning after the murder. Victor knows she has been framed, but cannot bring himself to say so: his tale will be dismissed as the ranting of a madman. The family refuses to believe that Justine is guilty. Elizabeth, especially, is heartbroken at the wrongful imprisonment of her cherished friend. Though Elizabeth speaks eloquently of Justine's goodness at her trial, she is found guilty and condemned to death. Justine gracefully accepts her fate. In the aftermath of the double tragedy, the Frankenstein family remains in a state of stupefied grief.

While on a solitary hike in the mountains, Victor comes face to face with the creature, who proceeds to narrate what has became of him since he fled Victor's laboratory. After wandering great distances and suffering immense cold and hunger, the monster sought shelter in an abandoned hovel. His refuge adjoined the cottage of an exiled French family: by observing them, the monster acquired language, as well as an extensive knowledge of the ways of humanity. He was greatly aided in this by the reading of three books recovered from a satchel in the snow: Milton's Paradise Lost, Goethe's Sorrows of Werter, and a volume of Plutarch's Lives. The monster speaks with great eloquence and cultivation as a result of his limited but admirable education.

He developed a deep love for the noble (if impoverished) French family, and finally made an overture of friendship. Having already learned that his hideous appearance inspires fear and disgust, he spoke first to the family's elderly patriarch: this honorable old gentleman's blindness rendered him able to recognize the monster's sincerity and refinement (irrespective of his appearance). The other members of the family returned unexpectedly, however, and drove the creature from the cottage with stones.

The monster was full of sorrow, and cursed his creator and his own hideousness. He therefore determined to revenge himself upon Frankenstein, whose whereabouts he had discovered from the laboratory notebooks. Upon his arrival in Geneva, the creature encountered William, whose unspoiled boyish beauty greatly attracted him. The monster, longing for companionship, asked William to come away with him, in the hopes that the boy's youthful innocence would cause him to forgive the monster his ugliness. Instead, William struggled and called the monster a number of cruel names; upon learning that the boy was related to Victor, he strangled him in a vengeful fury. Drawn to the beauty of the locket, he took it, and fled to a nearby barn.

There, he found Justine, who had fallen into an exhausted sleep after searching all day and all night for William. The monster's heart was rent by her angelic loveliness, and he found himself full of longing for her. Suddenly, he was gripped by the agonizing realization that he would never know love. He tucked the locket into the folds of Justine's dress in an attempt to seek revenge on all withholding womankind.

The monster concludes his tale by denouncing Victor for his abandonment; he demands that Victor construct a female mate for him, so that he may no longer be so utterly alone. If Victor complies with this rather reasonable request, he promises to leave human society forever. Though he has a brief crisis of conscience, Victor agrees to the task in order to save his remaining loved ones.

He journeys to England with Clerval to learn new scientific techniques that will aid him in his hateful task. Once he has acquired the necessary data, he retreats to a dark corner of Scotland, promising to return to Henry when the job is done. Victor is nearly halfway through the work of creation when he is suddenly seized by fear. Apprehensive that the creature and his mistress will spawn yet more monsters, and thus destroy humanity, he tears the new woman to bits before the monster's very eyes. The creature emits a tortured scream. He leaves Victor with a single, most ominous promise: that he shall be with him on his wedding night.

Victor takes a small rowboat out into the center of a vast Scottish lake; there, he throws the new woman's tattered remains overboard. He falls into an exhausted sleep, and drifts for an entire day upon the open water. When he finally washes ashore, he is immediately seized and charged with murder. A bewildered Victor is taken into a dingy little room and shown the body of his beloved Henry, murdered at the creature's hands. This brings on a fever of delirium that lasts for months. His father comes to escort him home, and Victor is eventually cleared of all charges.

At home in Geneva, the family begins planning the marriage of Elizabeth and Victor. On their wedding night, Elizabeth is strangled to death in the conjugal bed. Upon hearing the news, Victor's father takes to his bed, where he promptly dies of grief.

Having lost everyone he has ever loved, Victor determines to spend the rest of his life pursuing the creature. This is precisely what the creature himself wants: now, Frankenstein will be as wretched and bereft as he is. For some time, the creator pursues his creation; he had chased him as far as the Arctic Circle when Walton rescued him. Though he cautions the sea captain against excessive ambition and curiosity, he contradictorily encourages the sailors to continue on their doomed voyage, though it will mean certain death. His reason: for glory, and for human knowledge. Finally, he is no longer able to struggle against his illness, and dies peacefully in his sleep. At the moment of his death, the creature appears: he mourns all that he has done, but maintains that he could not have done otherwise, given the magnitude of his suffering. He then flees, vowing that he will build for himself a funeral pyre and throw his despised form upon the flames.