There’s a reason the story of Frankenstein endures. Its examination of mankind’s hubris and inhumane scientific progress has only become more relevant since Mary Shelley’s time. The pursuit of “innovation at all costs” has led to new monsters, born from people who failed (or refused) to consider the consequences of their actions. So it’s no wonder that Victor Frankenstein in Guillermo del Toro’s Netflix adaptation feels so much like a modern day tech bro. He is practically their template.
Squint a bit, and you can see Frankenstein’s recklessness in Mark Zuckerberg ignoring Facebook’s role in promoting the genocide in Myanmar, with Elon Musk lying about Tesla’s real self-driving capabilities (potentially leading to several crashes), or Sam Altman’s OpenAI building a hallucinating AI search engine trained on stolen content. Screw the consequences, they just want to shout “it’s alive!” as their products go viral (and as their investors lap up the engagement).
Del Toro’s Frankenstein is a remix of the major elements of the novel — there’s the doomed love story, the mad scientist driven by his ego and the sympathetic monster who demonstrates far more humanity than his creator — refashioned in the director’s opulent style. But it’s also clear from the film’s explosive opening, where an Arctic ship encounters Victor Frankenstein (Oscar Isaac) being chased by a seemingly unkillable Creature (Jacob Elordi), that del Toro isn’t shying away from his campier horror roots. Arms are torn off, gallons of blood are spilled. This Frankenstein contains multitudes.
Why did Victor Frankenstein go through hell to reanimate the dead? Because he could. In the novel and this film, the whole ordeal was always about bragging rights and demonstrating his greatness as a scientist. He didn’t consider what he owed to the new life form, or the cruelty of bringing a being into the world with no companion. It didn’t matter who he hurt. Sound familiar?
Mia Goth and Jacob Elordi in Frankenstein (Netflix)
What truly makes del Toro’s Frankenstein work is his understanding of the characters. As Victor Frankenstein, Oscar Isaac embodies the punk rock charm of a rebel scientist who thinks he alone can invent a way to reanimate life. But he also lives with the memory of an abusive father who likely killed his beloved mother. Elizabeth fascinates and intrigues Victor, but she’s also disgusted by his apathy for the natural world. It’s not hard to see why she feels immediate sympathy for the Creature, who is portrayed by Jacob Elordi as a sort of child-like super human. He’s an immediate disappointment to Frankenstein, who can’t help but repeat the cycle of abuse he experienced with his father.
Looking back at his career, it’s as if del Toro has been trying to adapt Shelley’s novel through all of his films. You can see elements of the story in his debut feature Cronos, which centers on a device that makes people immortal (but also curses them with a thirst for blood). The tragic father and son relationship between Frankenstein and the Creature is mapped directly onto the evil vampires in Blade 2. The Gothic romance between Frankenstein and his sister-in-law Elizabeth (who also has eyes for the Creature) echoes Crimson Peak. And the desire for a seemingly “evil” being to fit into normal human life is front and center in del Toro’s Hellboy films.
Jacob Elordi in Frankenstein (Netflix)
In an interview with NPR, del Toro mentioned that, as a child, seeing the monster appear for the first time in the 1931 Frankenstein film was “an epiphany.” It was an experience that helped him understand his own faith, and seemingly his entire view of life and art. His Frankenstein is the work of someone who has been living with the story for decades. It comes to life with lavish sets, his love of voluptuous colors (there’s a scene of a red scarf floating in the air that haunts me) and his fascination with the macabre.
There’s a lesson in Frankenstein for today’s tech elite, but given their current obsession with AI despite its potentially massive societal and environmental impacts, I have little hope they’ll learn anything from it. But when Guillermo del Toro was asked about using generative AI by NPR, he spoke as someone who truly understood Shelley’s novel. “I’d rather die,” he said.
