By the early 1940s, a decade after he’d begun work with the mega studio Universal, he’d be all but expunged from the motion picture industry. Gay filmmaker James Whale’s time in Hollywood is troubled at best, marked by a blend of extreme successes and devastating failures, some financial and some personal. " Bride of Frankenstein"ġ931: James’ Whale’s "Frankenstein" and "Bride of Frankenstein"Ī little over 100 years later, another creator would apply themselves to the Frankenstein mythos, giving the gruesome story a now-classic visual iconography. By 1832, the British Parliament established a law to stop it, but it was shocking that Shelley seemed to be dramatizing the crimes and then asking readers to consider the moral implications of their fantastical aftermath. The response to it was immediate, partly because of its qualities as a gripping horror tale, but also likely due to the macabre trend in medical science prevalent at the time-“body snatchers” robbing corpses and illegally selling them for use in schools. Frankenstein is not the outlandish product of a young woman’s imagination in the early 19th century but the culmination of a life’s worth of ideas and sorrows. Along with the fact that she and her husband often found themselves broke and living on the outskirts among other artists, this all provides a fitting foundation for the monster, a man whose paternal figure leaves him in horror and thus finds solace in learning language. Shelley had been extensively tutored in her youth by her father, who would later all but abandon her due to his dissatisfaction with her future husband. This competition is inherent in Victor Frankenstein’s motivation, for what is the need to defeat death if not claiming ultimate victory against biology itself? Fascinated by Galvanism, the process of applying electrical current to organisms in a way to prompt convulsions and by stories of the supernatural, Shelley applied these interests to Frankenstein, developing a narrative that would one day eclipse the fame of her, her husband, and their contemporaries. When 19-year-old Mary Shelley invented the saga, she was the young wife of a famous poet, competing among friends to see who could come up with a scary story.
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We simply approach it, body parts in hands, ready to design a monster in our own image. It’s what makes Frankenstein so great to this day. Every creator involved in Frankenstein has become a mad doctor themselves, each adaptation reflecting their particular obsessions and traumas. But why does the story of Frankenstein thrive like this, while other horror icons often feel so diluted through each subsequent adaptation? Why is it such a prime candidate for remix and reinvention? Likely, it has to do with the questions it asks, with each director, writer, and artist attached to it providing their own unique answers.