★★★★★
A work of Gothic fiction that has fascinated filmmakers for almost as long as cinema has existed, Mary Shelley’s 1818 novel Frankenstein; or, The Modern Prometheus finally gets what might be considered its definitive movie version.
A film del Toro has been tinkering with for years, his Frankenstein is far removed from the 1931 James Whale version, perhaps something closer to Kenneth Branagh’s gleaming 1994 film Mary Shelley’s Frankenstein, which featured Robert De Niro as the creature brought to life by the egotistical, god-playing scientist, Victor Frankenstein.
Opposite him is a compelling Oscar Isaac as Victor Frankenstein, a character first glimpsed prostrate in the icy wastes of the Arctic. It’s 1857 and an expedition to the North Pole, led by Captain Anderson (Lars Mikkelsen), has seen its ship run aground, frozen in the ice.
When the injured Frankenstein is discovered, he’s brought aboard just as Elordi’s creature – his face almost entirely concealed – goes on the rampage. “It cannot die,” cries Frankenstein, as his creation throws men around like rag-dolls and survives countless bullets.
View oEmbed on the source websiteWhen we next glimpse Frankenstein, it’s 1855 and he’s at the Royal College of Medicine, demonstrating his attempts to inject life into a stitched-together cadaver. This “abomination” – beautifully animated, with animatronics by the way – sees him dismissed.
Yet his pioneering work attracts the erudite arms trader Harlander (Christoph Waltz), whose own niece Elizabeth (Mia Goth) is engaged to Victor’s younger brother William (Felix Kammerer).
With del Toro’s script switching to the Creature’s perspective, we get to see its encounter with a blind man (David Bradley), who shows compassion and warmth, even sharing his books, including Milton’s Paradise Lost.
With burnished, beautiful cinematography from Dan Laustsen, a highly-charged score from Alexandre Desplat, and exquisite production design from Tamara Deverell, del Toro’s film is unquestionably one of the most beautifully crafted films you’ll see this year.
Perhaps it's hyperbole to call the film del Toro’s masterpiece – especially a story that has been told countless times. But this is a work that is the accumulation of three-and-a-half decades of filmmaking knowledge. Gory and grim it may be, but it is a tragic tale told in a captivating manner.
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