12/11/06 08:27 pm - Frankenstein
In the film version of Mary Shelley’s Frankenstein, Kenneth Branaugh’s film adaptation was an interesting compilation of the events in the book and an imaginative exaggeration at times. The majority of the movie tended to stick closely to the plot of Shelley’s novel, but there are some points at which the two diverge.
One major difference was the amount of time spent on the actual creation of the monster. This pointed itself out to me because of the emphasis made in our class discussion about the incredible lack of words used to describe Frankenstein’s creation of the monster, yet Branaugh’s extensive time, character’s energy, and detail spent on making sure that everything was done correctly and with dramatic over-exaggeration to ensure the viewer an up-close and personal experience. Although its creation was rather lengthy, the monster stayed close to that of the novel, and his emotions are well captured by the director of the film.
The characters were well dressed (dramatic at times – when Victor’s shirt is torn apart from working so diligently on his creation, just before he succeeds) and the make-up for the monster helped to create the feeling of not being completely human, but at the same time the details in Shelley’s novel were much more horrifying because it left the precise picture up to the imagination, which has absolutely no boundaries to work within. This is something that has always bothered me about movies being created after books – it is extremely difficult to accept a set and props as reality of a tale after you have worked for hours upon hours to construct the perfect place, characters, and props in your head (call me a nerd now!). It wasn’t difficult to see that the creation in the movie wasn’t a human character, but the detailed character I had created in my head while I read the novel was hard to beat.
Another difference were the events found in the film that were not included in Shelley’s novel, such as the death of Frankenstein’s mother by childbirth, but these events didn’t change the overall effect of the movie. Branaugh’s outlook was the same as Shelley’s in that they are both emphasizing (to different degrees) the horrific outcomes of a situation in which technology or scientific advancement is being challenged without moral backing. This is obviously the very point of the novel, and if that basic point were changed, they wouldn’t have called the film Frankenstein.
One major difference was the amount of time spent on the actual creation of the monster. This pointed itself out to me because of the emphasis made in our class discussion about the incredible lack of words used to describe Frankenstein’s creation of the monster, yet Branaugh’s extensive time, character’s energy, and detail spent on making sure that everything was done correctly and with dramatic over-exaggeration to ensure the viewer an up-close and personal experience. Although its creation was rather lengthy, the monster stayed close to that of the novel, and his emotions are well captured by the director of the film.
The characters were well dressed (dramatic at times – when Victor’s shirt is torn apart from working so diligently on his creation, just before he succeeds) and the make-up for the monster helped to create the feeling of not being completely human, but at the same time the details in Shelley’s novel were much more horrifying because it left the precise picture up to the imagination, which has absolutely no boundaries to work within. This is something that has always bothered me about movies being created after books – it is extremely difficult to accept a set and props as reality of a tale after you have worked for hours upon hours to construct the perfect place, characters, and props in your head (call me a nerd now!). It wasn’t difficult to see that the creation in the movie wasn’t a human character, but the detailed character I had created in my head while I read the novel was hard to beat.
Another difference were the events found in the film that were not included in Shelley’s novel, such as the death of Frankenstein’s mother by childbirth, but these events didn’t change the overall effect of the movie. Branaugh’s outlook was the same as Shelley’s in that they are both emphasizing (to different degrees) the horrific outcomes of a situation in which technology or scientific advancement is being challenged without moral backing. This is obviously the very point of the novel, and if that basic point were changed, they wouldn’t have called the film Frankenstein.
