Guillermo del Toro's Boldest Change to 'Frankenstein' Reframes the Story Actorsvaultpro

Guillermo del Toro‘s latest film, Frankenstein, has been lauded by critics and fans alike, often described as a culmination of the director’s previous work. These comments make complete sense when watching the film (which currently has a limited theatrical run), especially given the significant changes made to the source material’s story. Frankenstein adapts the novel of the same name, and while del Toro’s take on the classic tale stays mostly faithful, there is one major difference that recontextualizes a key aspect of The Creature’s story. Thankfully, it’s done in service of a thematic point that’s much more in line with his previous films.

For the first 30 or so minutes of Frankenstein, the movie is as faithful an adaptation of the novel as it can be. The opening scene, the film’s structure, and the presentation of dual narratives are all recreated in stunning detail. However, it’s with the introduction of Mia Goth’s character Elizabeth that the film begins to deviate. Elizabeth becomes a much more involved character in del Toro’s film, reinforcing the interpersonal dynamics between the male and female leads that are central to much of his filmography.

The Idea of Outer Versus Inner Beauty in the Works of Guillermo del Toro

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Many of del Toro’s films have featured unconventional romances or relationships as a key or even focal point of the story. Projects like Hellboy and The Shape of Water showcase the vulnerable sides of intense, famously violent characters, whether from a comic book in the former’s case or a classic monster movie in the latter. There are even more obscure hints of “mismatched” pairs in one of his darker films, Nightmare Alley. While the focus is largely on Bradley Cooper’s character, Stanton, and his descent into deception and corruption, there is also Rooney Mara’s Molly, whose slowly deteriorating relationship with him represents the dichotomy between the two.

The original Frankenstein novel casts Elizabeth as a source of emotional stability and support for Victor Frankenstein, before and after his creation of The Creature that eventually becomes the bane of his existence. Her only interaction with the monster is a brief encounter in which he strangles her to death on the day she is supposed to marry Victor. Del Toro had other plans for the character, though, making it less of a stable point for Victor and instead someone who challenges his ways of thinking and his views on creation and the moral obligations a creator has. Her compassion is redirected towards The Creature, portrayed by Jacob Elordi.

The Creature has two interactions with Elizabeth in the film, both of which are wholesome, and Elizabeth sees a kindred spirit in him. In classic del Toro fashion, The Creature, considered abhorrent and monstrous in the source material, becomes more sympathetic and even finds companionship with an unexpected, gentle soul like Elizabeth. The filmmaker has been vocal about his romanticization of creatures like this, which led to the development of The Shape of Water, which won him the Best Director and Best Picture awards at the Oscars that year.

Del Toro Reinforces the Dark Relationship Between Creation and the Creator

Oscar Isaac as Baron Victor Frankenstein in Guillermo del Toro's Frankenstein

It’s because of this key change that the book’s themes are reinforced while still reframing the story to appeal to del Toro’s sensibilities and strengths. Frankenstein is shown to be the real monster of the story, and this is further cemented when he kills Elizabeth (albeit accidentally) as she attempts to protect The Creature from him and his gun. Changing who is responsible for her death may have felt like something that undermines the point of her death in the book (so that Victor can know what it’s like to not have companionship like The Creature and only have hatred in his heart). However, it still puts the two characters on a trajectory toward their fates in the film’s chilling opening scenes.

There is also a common problem with book adaptations: audiences familiar with the source may find them less engaging because they already know the story. Frankenstein is an iconic piece of literature, which makes it especially challenging to bring to life on the big screen. So many iterations of the story have taken their fair share of creative liberties, with one of the most famous being a dumbed-down version of The Creature, who is nothing like he is in the novel. In this latest version, del Toro strikes an impressive balance rarely seen in literary adaptations.

Not only is The Creature as articulate and well-spoken as he is in the novel, but del Toro keeps much of the visceral rage that leaped off the page and made Shelley’s work so essential and engrossing. However, the primal nature of The Creature is restrained in this feature film compared to the book, allowing those moments of violence to hit even harder than usual. Moreover, instead of directing his rage towards an unknowing female, it’s all pointed towards Oscar Isaac’s Frankenstein. The result is a chilling and provocative dynamic between creation and creator that stays true to the novel’s themes and also works in the realm that del Toro thrives in: a misunderstood creature who finds kinship in the most unexpected of places (Elizabeth).

A Faithful Adaptation Doesn’t Need To Recreate the Story Beat for Beat

Jacob Elordi as The Monster in Frankenstein looking at something off-screen

Guillermo del Toro’s Frankenstein has a lot going for it: incredible production design, practical effects, and a respect for the source material in all the ways that matter. Elordi’s portrayal of The Creature is just as tragic and terrifying as Shelley’s. Still, with this film, the director’s signature flair creates a new dynamic that reframes the story in a completely new way. The Creature’s longing for companionship is mirrored in Elizabeth, adding another layer of tragedy when she inevitably dies.

The changes to the novel may not sit well with purists looking for a completely faithful adaptation, but whenever it comes to movies based on books, there will always be two creative voices: the original author and the director bringing the story to life in a new medium. In Frankenstein, there’s a compromise that promises the film will be loyal in all the ways that matter, and also be a del Toro film that, much like many have already said at this point, feels like a culmination of all his works.