I Didn’t Expect 'Frankenstein' to Be This Heartbreaking (Or Jacob Elordi to Be This Good)

As I've previously stated, I am much more of a reader than a watcher, so when I do turn to the screen, it's often because a pretty costume caught my eye. So, first, major kudos to the costume designer, because everything was a Victorian feast for the eyes. Vibrant, almost violent, jewel tones and sumptuous gowns made for some very captivating stills. I've also unabashedly pinned almost every Mia Goth outfit to a Pinterest board. OK, now on to the real meat and potatoes...or should I say...bones.

If you're unfamiliar with the framework of the story, here's my book review for a quick refresher. Read that and come back. The film takes gross liberties from the original text, but in the cinematic context it works well. Everything you think you know about Frankenstein's monster is going to be turned on its head.

Ultimately, both the movie and book are a story of the created and his creator. I wasn't predisposed to like Victor Frankenstein in the first place—the book paints him as a mopey, nervous victim—but WOW, del Toro's adaptation made me hate him. Props to Oscar Issac for animating this two-faced character who was never afraid to pretend goodness when it suited him, but was unhesitating in his cruelty. Watching the performance made me wildly uncomfortable, though not in a cringey way. Uncomfortable in a You are doing something morally disgusting and how can you live with yourself!? Kind of way.

Despite being human, Frankenstein denies humanity to his creation. Throughout the film he taunts. He jeers. He abuses. He blames. The monster put it best, so simple but pure I almost shed a tear: "I am obscene to you, but to myself I simply am." Repeatedly, Frankenstein hides behind his own pride and cowardice to protect his selfishness. While I am not one to condone violence, even I felt a bit of vindication when the monster broke Frankenstein's nose.

What pleasantly shocked me was the tenderness with which Elordi renders Frankenstein's creature. Aside from the voiceover narration, the creature speaks very little until about the second half of the film. (Think of him as a baby learning to speak—because, essentially, that's what's happening.) Elordi has such nuanced facial expressions and tones of voice, a way of moving his towering 6'5'' frame to feel like a timid child that from the get-go, I was taken by the monster's innocence.

Del Toro's script did an excellent job of exploring the humanity of the creature as he moves in the world, grappling with love, loneliness, rage, even forgiveness. The starkness between the man who was a monster and monster who was the real man is brought into full light in their final acts. Frankenstein, ever selfish, asks the monster to accord him one final wish. The creature, being goodness that he is, grants it willingly, before the film ends with one of the most touching closing scenes.

Set against a hauntingly beautiful score by Alexandre Desplat, Frankenstein is a movie that, while so violent it had me, at times, averting my gaze, is also one that forces me to hope. If it doesn't scoop up at least one award, I will, like the monster, be righteously throwing some hands.