Frankenstein is an intention that flourished into an everlasting and relevant lesson. Mary Shelley’s story played a huge role in creating a new and exciting genre of literature: horror. It’s a story that taught lessons and possesses a deeper meaning behind it; connecting to her mother’s death, her father and his colleagues’ intelligence and teachings, and the treatment of women during the early 1800s. These connections are much of what influences Shelley’s reasonings in her novel to have the monster be created and behave the way he did. The film overturns her work and all meanings from the novel become lost while the film consists of tangled dialogue focused on love and unalarming horror. Although the film is called Frankenstein, it cannot
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The beginnings of the novel, that were cut from the film, recounted Frankenstein’s childhood and significant events that occurred, such as his mother, Caroline Frankenstein’s death. The inclusion of Caroline’s death in the film would have played a huge role in the reasoning for the creation of the monster and Frankenstein’s obsession with life and death. He became curious and wanted to become “capable of bestowing animation upon lifeless matter” (Shelley 38). Which could perhaps be connected to the early death of Mary Shelley’s mother as well. But in the film, Frankenstein’s childhood and history is kept a secret from the audience so it is deprived of a cause for the monster’s creation. With that depravity, the film claims that his true reason for creating the monster was to play God. He wanted to “renew life where death had been apparently devote the body to corruption” (Shelley 40). And that was what he did, but the film takes away all meaning behind it, such as his mother’s death from scarlet fever, and replaces it with God. Because when books are adapted for the screen, human creation “must not go beyond an intended order decreed by God or set by nature’s laws” (Gould 1). Frankenstein could not have developed these ideas on his own or by experience, it must be God or nature’s doing. The coverup of Frankenstein’s past in the film loses a lot of the rationality behind his experiment. There is no assertion of feeling in the creation of the monster that is linked to Frankenstein of Shelley’s childhood. God, which is not found in the novel, becomes Frankenstein’s main focus and when the monster comes to life, he yells “In the name of God, now I know what it’s like to be God!” (Frankenstein). This disconnects the film to Shelley’s believed intent to express her grief and trouble over her
The beginnings of the novel, that were cut from the film, recounted Frankenstein’s childhood and significant events that occurred, such as his mother, Caroline Frankenstein’s death. The inclusion of Caroline’s death in the film would have played a huge role in the reasoning for the creation of the monster and Frankenstein’s obsession with life and death. He became curious and wanted to become “capable of bestowing animation upon lifeless matter” (Shelley 38). Which could perhaps be connected to the early death of Mary Shelley’s mother as well. But in the film, Frankenstein’s childhood and history is kept a secret from the audience so it is deprived of a cause for the monster’s creation. With that depravity, the film claims that his true reason for creating the monster was to play God. He wanted to “renew life where death had been apparently devote the body to corruption” (Shelley 40). And that was what he did, but the film takes away all meaning behind it, such as his mother’s death from scarlet fever, and replaces it with God. Because when books are adapted for the screen, human creation “must not go beyond an intended order decreed by God or set by nature’s laws” (Gould 1). Frankenstein could not have developed these ideas on his own or by experience, it must be God or nature’s doing. The coverup of Frankenstein’s past in the film loses a lot of the rationality behind his experiment. There is no assertion of feeling in the creation of the monster that is linked to Frankenstein of Shelley’s childhood. God, which is not found in the novel, becomes Frankenstein’s main focus and when the monster comes to life, he yells “In the name of God, now I know what it’s like to be God!” (Frankenstein). This disconnects the film to Shelley’s believed intent to express her grief and trouble over her