Mary Shelley’s, character of Frankenstein’s monster, has entered the cultural mythos in almost all art forms, especially film. The beginning of the Frankenstein story on film, however, was markedly different from the classic novel. The monster was mute, a grunting, frightened, childlike creature that was more obsessed with being alone (at least until 1941’s The Bride of Frankenstein) than seeking vengeance on his creator. The creature’s depiction on film created an entirely new character in the social consciousness, splitting the character of Frankenstein’s monster into two distinct forms: the childlike creature made famous by Boris Karloff, and the articulate, revenge-obsessed creature from the original novel. An analysis of the similarities and differences between the two characters reveals that the film Frankenstein is a much more sympathetic creature than Shelley’s original creation.
Ignoring the superficial differences like appearance (Shelley’s original Frankenstein was a yellow, black-lipped brute compared to the commonly-referenced green-skinned, flat-headed “pop” monster), the differences between the two monsters can be broken down into the cause of their supposed villainy (the cause of the villainy of the novelistic monster is up for debate, the film monster not so much) and their treatment of people when society shuns them, ostracizing them from all companionship.
In Frankenstein, directed by James Whale, the creation of the monster varies wildly from its conception in the original novel. In the film, Dr. Henry (changed from the original Victor) Frankenstein’s assistant Fritz attempts to steal the brain of a knowledgeable scientist in order to implant it in the monster. Startled by a bolt of lightning, Fritz drops the...
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.... James Whale. Prod. Carl Laemmle. Perf. Colin Clive, Boris Karloff. Universal Pictures, 2012. Blu-Ray.
Bride of Frankenstein. Dir. James Whale. Prod. Carl Laemmle. By William J. Hurlbut. Perf. Boris Karloff, Elsa Lanchester, and Colin Clive. Universal Pictures Corp., 1935. Blu-Ray.
Gould, Stephen Jay. "The Monster's Human Nature." Natural History 103.7 (1994): n. pag. Ibiblio. Web. 21 Feb. 2014. .
Bernatchez, Josh. "Monstrosity, Suffering, Subjectivity, and Sympathetic Community in "Frankenstein" and "The Structure of Torture"" Science Fiction Studies (2009): 205-16. JSTOR. Web. 21 Feb. 2014.
Hitchcock, Susan Tyler. Frankenstein: A Cultural History. New York: W.W. Norton, 2007. Print.
Raub, Emma. "Frankenstein and the Mute Figure of Melodrama." Modern Drama 55.4 (2012): 437-58. Print.
The Proper Lady and the Woman Writer. Chicago: U of Chicago P. (1984): 121-31. Rpt. in Frankenstein: Contexts, nineteenth century responses, criticism.
During World War One, the amount of devastation was massive. The human welfare declined as well as progress in Europe. James Whale formed his surroundings during this time period into his personal adaptation of Mary Shelley’s “Frankenstein”. The monster created by Whale is symbolic of a wounded soldier who has been forgotten and cast out or pushed to the side by an economy in depression. This film is characteristic of the post war years with hopefulness of reconstruction, the deterioration of community as well as the individual, and the erection of destruction. This theme of re-animation is presented through the utilization of death in economic and procreative positions. Whale’s creation of the Dr. Frankenstein character and his generative role in a dark underground laboratory can be seen in an emblematic arena that is analogous to the fighting on a battlefield. When one thinks of a battlefield, death is almost certainly the first thing. What is generally overlooked is the potential of battle and death being the first strides on the way to a new existence. The comparison between the laboratory of Frankenstein and the battlefield should both be of death leading to new life and a new beginning. However, in the 1931 film of Frankenstein, it is found that any fulfillment of this new existence simply returns the community to a harsher reality of unforgiving modes.
...iro portrayal of Frankenstein’s monster has created a false myth of an evil, unintelligent monster that is not at all similar to the one Shelley displays in her novel. Not only does the movie spread a false interpretation of Shelley’s work, it provides the public with no lasting message about technology or about the effects of misplaced human love. Shall we then seek revenge? Shall we destroy that what is evil? Of course not--Shelley gave us all to learn a lesson of tolerance and of correcting our mistakes. Perhaps if a more accurate film version of Frankenstein were available to the public, more people would be motivated to read the book and learn Shelley’s powerful message.
James Whale's Frankenstein is a VERY loose adaptation of Mary Shelley's 1818 novel. The spirit of the film is preserved in its most basic sense, but the vast majority of the story has been entirely left out, which is unfortunate. The monster, for example, who possesses tremendous intellect in the novel and who goes on an epic quest seeking acceptance into the world in which he was created, has been reduced to little more than a lumbering klutz whose communication is limited to unearthly shrieks and grunts. Boris Karloff was understandably branded with the performance after the film was released, because it was undeniably a spectacular performance, but the monster's character was severely diminished from the novel.
How can we think of Frankenstein and ignore the film classic of 1931? Yet the celebrated film does not follow the novel by Mary Shelley. Although the scene of a futuristic laboratory entrances movie audiences with the mad Dr. Frankenstein and his faithful assistant Igor, the scene is derived from twentieth century imaginations and interests, not the novel itself.
Frankenstein is the story of an eccentric scientist whose masterful creation, a monster composed of sown together appendages of dead bodies, escapes and is now loose in the country. In Frankenstein, Mary Shelly’s diction enhances fear-provoking imagery in order to induce apprehension and suspense on the reader. Throughout this horrifying account, the reader is almost ‘told’ how to feel – generally a feeling of uneasiness or fright. The author’s diction makes the images throughout the story more vivid and dramatic, so dramatic that it can almost make you shudder.
Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
In most novel and movies monsters are known to be evil, committing numerous crimes against humanity and are normally the ones that we don’t sympathize with. However, this novel carefully shows the reader that monsters can be good creatures, with a decent heart and act based on the actions of others. The novel shows how the monster should be pitied, rather than criticised. Mary Shelley's “Frankenstein” manages to create sympathy for the creature through speech, actions and mistreatment the creature suffers.
Shelley, Mary. "Frankenstein." The Presence of Others:Voices that Call for Response. 2nd ed. Ed Andrea A. Lunsford and John J. Ruszkiewics. New York:St Martin's Press, 1997. 230-235.
Many timeless novels have impacts on our everyday culture, not only as a book, but also through music or movies. Many popular novels have multiple adaptations, which shape how we approach their interpretation, in ways we may never even notice. In some films, humans are depicted as monsters, whether through their actions, or through the thoughts of other beings. In these films we find issues with our own society, and in turn see ourselves as monsters, and look for ways we can change, for the better. One particular novel that influences this side of Hollywood is Mary Shelley's “Frankenstein”. The ways Frankenstein influences pop culture can be seen in science fiction films in which humans are depicted as monster, and “monsters” are seen as more humane beings, such as I, Robot, and Ender’s Game.
Finally, Brooks' argument of "What Is a Monster?" explores how we negotiate the core "lack" of meaning in life, and how our transfer from the wholeness of the imaginary order and our mother spawns a search for completion. Through what we think are meaningful connections and uses of language to fulfill our needs, we really are pushing ourselves away from our goal by putting excess meaning between ourselves and our unconscious desires.
Tragedy shows no discrimination and often strikes down on those undeserving of such turmoil. In Mary Shelley’s Frankenstein, a creature more repulsive than one can imagine is brought to life by a young scientist. Although this creature is horrifying in sight, he is gentle by nature. Unfortunately, the softer side of the creature is repeatedly overlooked and the so called “monster” is driven to a breaking point. Even though the Creature committed many crimes, Mary Shelley’s Creature was the tragic hero of this story because of his efforts rescue the life of a young girl and helping destitute cottagers.
Mary Shelley’s Frankenstein is a nineteenth century literary work that delves into the world of science and the plausible outcomes of morally insensitive technological research. Although the novel brings to the forefront several issues about knowledge and sublime nature, the novel mostly explores the psychological and physical journey of two complex characters. While each character exhibits several interesting traits that range from passive and contemplative to rash and impulsive, their most attractive quality is their monstrosity. Their monstrosities, however, differ in the way each of the character’s act and respond to their environment. Throughout Frankenstein, one assumes that Frankenstein’s creation is the true monster. While the creation’s actions are indeed monstrous, one must also realize that his creator, Victor Frankenstein is also a villain. His inconsiderate and selfish acts as well as his passion for science result in the death of his friend and family members and ultimately in his own demise.
Brachneos. “Frankenstein – a Literature Essay on Social Context Comments.” Writinghood . N.p., 3 Mar. 2011. Web. 24 Apr. 2011. .
Mary Shelley’s Frankenstein or; The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif. Shelley also shows us, in Frankenstein, that although juxtaposing terms, the monstrous being everything human is not, they are also intertwined, in that you can not have one without the other. There is also an overwhelming desire to know the monstrous, if only temporarily and this calls into question the influence the monstrous has on the human definition.