Within
the film Frankenstein (1931 James
Whale) works to define the gender roles and gender expression through the
complex relationships and interactions between the characters. I am going to
focus mainly on the definitions of femininity and womanhood found in Frankenstein for there are two main
female characters found within the movie, who serve as a source of motivation
and plot change within the movie. Frankenstein
mostly defines characters by their relationships, the dynamics portrayed
being Henry and Elizabeth, Victor and Elizabeth, Baron Frankenstein and
Elizabeth, the Monster and Elizabeth, and the Monster and Maria. Each of these
relationships work to develop the ideas behind gender roles within the film,
ranging from platonic to aggressive.
Elizabeth initially is isolated from
Dr. Henry Frankenstein within the movie, attempts to extract Dr. Frankenstein so
they could be married with the assistance of their mutual friend, Victor, (who
admits he has feelings for her and protects her on occasion), is not taken
seriously by Baron Frankenstein, and, lastly, has a violent interaction with
the Monster. These relationships show how marginalized Elizabeth’s character is
throughout the story: isolated against her will from her fiancée, pursued
without reciprocated feelings from Victor, verbally berated and ignored by
Baron Frankenstein, and acted upon by the Monster. With Elizabeth—the narrative
is in the passive sense. The actions happen to her, pushing her farther edges
of the story and within the space of the set. Within one point, she is
literally locked away by Dr. Frankenstein, “For her own good”. This blatant visual
isolation follows the rest of the actions against Elizabeth throughout the
movie.
Despite the initial issues between
Elizabeth and Dr. Frankenstein in the beginning of the film, and his eventual
misguided locking her in her bedroom, Elizabeth and Frankenstein have one of the
better relationships throughout the film—both are positive and care for one
another, each following through to see the other person is okay. Their
relationship, however, feels platonic, due to body language and dialogue. Once
Dr. Frankenstein makes it back to his father’s house, he sits with Elizabeth at
his feet. This produces a subservient body layout, making their relationship
feel more familial than romantic. This seemingly platonic relationship is the
strongest one there, with the film’s ending mirroring Henry’s initial
homecoming, with Elizabeth draping her self over his side.
The next female character, Maria,
serves as more of a symbol and cause for effect than a developing character,
however, there is a visual tie with Elizabeth’s body language and Maria’s,
after Maria’s body is carried by her father and the scene quickly changes to
Elizabeth in the exact position, only mirrored:
The
visual connection is obvious but what does it mean? It could mean a death of
innocence, Maria as the embodiment of innocence and Elizabeth, through trauma,
losing her innocence and hope. This visual tie also acts as a direct result of
an interaction the monster, so it could have something to do with being objects
acted upon and not object doing the acting.
In conclusion, Whale does something
interesting by pointing out the female characters within the play by isolating
them (physically) and keeping the number minimal. There are nameless female
characters, some of them are medical students leaving the lecture hall, and
others together in the background with the children, on the edges of the street
while the mob runs through the village. Women are literally in the margins of
this movie, leaving it up the audience to interpret the visual cues.
Frankenstein. Dir. James Whale. Universal, 1931.
Film.
Photo
links:
Sophia,
ReplyDeleteI like how you connect the positions of both female characters in the film. I never noticed how both Maria and Elizabeth sprawl out with their heads lolling after their interactions with the Monster. I really like your theory about their body positions symbolizing death or loss of innocence. The parallels between the two characters' positions could also depict the ruthlessness of the Monster. I think Whale wants to make the Monster as terrifying and unsympathetic as possible, so he has the Monster attack a woman and child. By positioning Elizabeth and Maria in the same position, the audience is reminded visually that the Monster completed both of these attacks, and it makes us not only fear him, but also despise him. I liked the photos you added to your post! Great observation!
-Cierra
I really liked your reading of the females present in the film. I did not make that connection between the positioning of them in the end of the film. I agree that it shows their innocence and also the vuberability. But both sort of lose their innocence especailly Elizabeth at the hands of the monster. Good connections!
ReplyDeleteThat's a compelling visual match, Sophie--and perceptive of you to notice. Your proposed interpretations seem pretty plausible to me, although, as I think you suggest, these kinds of visual resemblances tend to invite multiple readings. If the monster at all represents Henry's displaced sexual energies, then the ravished postures of females perhaps makes (macabre) sense, and this is complicated further if we accept the notion that the monster is a kind of homosexual partner for Henry (in Elizabeth's case, this might imply that the monster attacks a rival....or that he/it attacks all embodiments of hetero-reproductive femininity). A thought-provoking post! -MH
ReplyDeleteBeing women, especially of the time, it is so common for them to be marginalized that I didn't even notice it. But now that you point it out I can see the ridiculously prevalent truth of your words. The women in the film are constantly pushed aside and used as a means of perpetuating the motives of their male counter parts. This may not have been noticed at the time but the truth of it today is clear. This was a really interesting take on the film, especially with the match between Elizabeth and Maria. Awesome job Soph.
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