Mary Shelley's Frankenstein (1994)

Directed by Kenneth Branagh

Produced by Francis Ford Coppola, James V. Hart & John Veitch

Starring Robert De Niro, Kenneth Branagh, Helena Bonham Carter, Tom Hulce, Aidan Quinn, Ian Holm, Richard Briers, John Cleese, Robert Hardy, Cherie Lunghi

Mary Shelley's Frankenstein (1994)

Francis Ford Coppola produced this follow-up to his previous "definitive" rendition of the "Dracula" mythos, once again with the studio promoting the production as the most faithful rendition of Mary Wollstonecraft Shelley's 1818 novel. As much as I hate to be a party-pooper, that accolade lays squarely on the shoulders of Jack Smight's two-part tele-movie "Frankenstein: The True Story" produced for NBC back in 1973, but having said that Kenneth Branagh's version manages to remain one of the great recreations of the novel yet produced for modern audiences. Afterall, who better to bring to the big-screen one of the great gothic horror stories than the man who had given us near word-perfect renditions of the Bard in "Henry V" (1989) and "Much Ado About Nothing" (1993). Irrespective of the many derisions lumped upon him by the horror community, Branagh was the perfect choice to bring Shelley's "Frankenstein, or The Modern Prometheus" to lush, vibrant new life. Not unexpectedly, he succeeded in the task exquisitely.

Commencing true to Shelley's novel, "Frankenstein" opens amidst the storm ravaged seas of the North Pole as a wayward vessel, captained by Robert Walton (Quinn), is trapped in an ice flow. Held at the mercy of the elements, the ship is approached by a lone, weather-beaten man who identifies himself as Victor Frankenstein (Branagh). Taking shelter on board in the Captain's quarters, he warns of impending danger ahead, then begins to recount his tale of woe. The only child of Baron (Holm) and Lady (Lunghi) Frankenstein, Victor led a happy childhood, enriched by the arrival of his adopted sister Elizabeth in his pre-teens. Growing up to follow in his father's medical footsteps, Victor swears to change the course of medicine when his mother dies in childbirth. Before his relocation to Geneva for his studies, he proposes to the adult Elizabeth (Carter) (erm…yeah, okay…) swearing that they will marry on his return.

Once in Geneva, he forms a close bond of friendship with fellow student Henry Clerval (Hulce), and takes a fascinated interest in the radical works of Dr. Waldeman (Cleese). An outbreak of cholera, paired with the murder of Waldeman drives Victor to attack his mentor's theories of reanimating the dead with passionate zeal. Once successful however, Victor deems his resultant reanimant (De Niro) an abomination of science, leading him to flee back to his familial home, deserting his creation at its moment of inception. When the Reanimant (as he is referred to throughout the film) discovers Victor's journal, he becomes overcome with an uncontrollable rage, vowing revenge on Frankenstein. Safely home and married to his adopted sister, Victor finds happiness away from the horrors of what he had conceived in Geneva. Little can prepare him for the horror that is to follow once creation reunites with creator, and the flames of revenge rage unstemmed.

Branagh's "Frankenstein" is a creation of rapturous beauty to behold, both gloriously romantic and ominously dark in tone. His casting succeeds magnificently where producer Coppola fell down on a number of counts with his own mounting of the "Dracula" mythos. At no point can I fault, nor deride, a solitary performance in the piece, as all parties rise to the occasion then exceed expectations with the reverent skill of seasoned veterans. Branagh imbues his Frankenstein with equal measures of youthful exuberance, fevered intensity, melancholic grace, and fervent romanticism. Bonham Carter is faultless as Victor's love, Elizabeth, invoking wonderment at what intricacies she may have invested the part had she been cast in the Winona Ryder role in Coppola's production. Even smaller parts, per Hulce, Quinn, Holm and Briers are spirited and precise in their execution. Cleese stuns in a rare 'straight' role as Dr. Waldeman, commanding a screen presence hitherto unhinted at by the former Basil Fawlty that evokes fond memories of Christopher Lee and Hammer's heyday. De Niro, in turn, proves an inspired casting as the creature, eliciting literal mountains of sympathy, and in part terror, in his portrayal of Shelley's protagonist. Herein lies an interpretation that elevates Frankenstein's creation beyond the simple figure of tragic-horror that he had previously been portrayed as. Put succinctly, Stephen Lady & Frank Darabont's screenplay has captured all of the best elements of Shelley's original whilst creating something immediately accessible for a modern audience, and Branagh's cast have brought it to wondrous, full-blooded life.

The film itself looks ravishing, from the gorgeous costume design of James Acheson through the superlative production design of Tim Harvey and art director of Desmond Crowe & John Fenner, there have been few productions of the "Frankenstein" legend that have achieved this level of elegance. Roger Pratt's cinematography breathes vivid life into Branagh's vision, swirling like a carousel on occasions only to halt upon breathtaking vistas of Swiss mountain ranges, arctic wastelands, or the grim cholera-ridden streets of Geneva. Pratt's keen eye for the visually opulent is a sometimes dizzying feast, though always thoroughly rewarding experience. As to is Scotsman Patrick Doyle's glorious score, that urgently, and poignantly, rushes Branagh's visual opus forward in its passionate exhilaration of emotions, sweeping the viewer up in the beauty of the moment, only to ride them into the depths of horror the next. Last, but by no means least, is the striking make-up work by Daniel Parker on De Niro's creature, as well as the suitably grisly work of prosthetic artists Mark Coulier & David White and their crew, without whom certain visuals would hold none of their infernal power. A big plus too, for the Computer Camera Company who prove beyond all doubt that some of the best digital effects are also sometimes the most subtle. Their work is often so seamless as to be invisible.

Another Columbia disc, another outstanding transfer, what else needs to be said? Branagh's film is letterboxed at its theatrical ratio of 1.85 and anamorphically enhanced…and it's a treat to behold too. Pin-sharp, vibrant colours and nary an issue with the image at all. It's pretty damn good folks! Virtually flawless, actually. Audio is present in either Dolby 2.0 surround or Dolby 5.1. The 5.1 track is quite smashing, creating as it does a fairly encompassing soundscape and delivering Patrick Doyle's lush score with panache. Columbia do it again with a near perfect audio & video transfer. The only area they fall down in is with the supplementals, delivering one lonely theatrical trailer to keep Branagh's gorgeous film company. Why do I get the feeling that this is going to be given the full Special Edition treatment sometime in the future?

Yes, given all of the above you would surmise correctly that I do indeed hold a passionate love of Branagh's "Frankenstein". It is a beautiful, romantic, dark, horrific, ultimately tragic tale near perfectly realised by all involved in its production. Not only that, it is a marvelous lesson in what can be achieved within the genre of the gothic melodrama, and indeed the horror genre itself, when there is real talent, and real passion invested in a project. Columbia's DVD edition of Branagh's film may not be the feature-laden exercise we have come to expect of a major studio (it's the same world-wide), but the sheer quality of the feature alone should be enough for any self-respecting genre fan to forego their misgivings over such a small issue. This is one of the few occasions where I can confidently close by saying that the film itself merits the cost of the disc on its own.

International specifications: PAL format disc; Language options in English & French Dolby 5.1 & Dolby 2.0 surround; Subtitle options in English, French, Dutch & Arabic

Review by Mike Thomason


 
Released by Columbia Tristar Home Entertainment
Classified M (15+) - Region 4 (PAL)
Running time - 122m
Ratio - Widescreen 1.85 (Anamorphic)
Audio - Dolby digital 5.1, Dolby surround 2.0
Extras :
Trailer

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