Response #2: Religious Lessons in Frankenstein

The film Frankenstein is based on Mary Shelley’s horror story of a young fellow digressing from God by striving to be like God:  the creator.  Like the Edison film in 1910, the film revolves around Frankenstein, obsessed with his work, in hopes to be like God himself and use the power of Creation in order to recreate birth.  Similar to many horror films, the famous “ghost story,” acts as a moral lesson taught by the Christian religion.  In the 1931 version, despite the sexual orientation of James Whale, not only is Henry Frankenstein condemned for his monstrous Creation, he also seems damned due to his choices in living a homosexual lifestyle.  Originally and faithfully filled with religious connotations, Frankenstein depicts a consumed mad-man suffering the consequences of his Sadistic desires.

The film begins in a cemetery, as we view the possessed Frankenstein and his amusing assistant Fritz digging for body parts in obscure graves in order to create his male monster.  In the first scene, the audience immediately apprehends the companionship between the two.  This is also emphasized throughout the film, especially when Henry displays emotion for Fritz’s death.  Perhaps Henry lacks the libidinousness to impregnate Elizabeth because of his homosexual inclinations, and therefore has an obsession to “give birth” to the monster with Fritz’s assistance. Later on, Henry also obtains the help of Dr. Waldman in his work with the monster.  With all four men (including the monster) living in the laboratory, and with homosexual hints throughout the film, we can detract the norm of heterosexuality within the film’s characters. 

In addition to the suggested “sinful” lifestyle of the men in the film, Frankenstein and Dr. Waldman are consumed by their idol:  science.  Their technological advances swiftly result in death and destruction, not only in their own lives, but in others’ lives as well.  While Frankenstein, Fritz, and Waldman all began to lead lives outside of an exemplary Bourgeois society, the ramifications of Fritz and Waldman quickly lead to death, while Frankenstein continuously becomes more psychotic with the creation of the monster.

Along with the death of Fritz and Dr. Waldman, and the potential doom of Frankenstein, the monster also depicts lesson in Christian religion.  For example, in the first scene revealing Frankenstein’s creation, the monster reaches up to the sunlight with his arms, as if he reaches up to the creator of the sun, looking for the ultimate father:  God.  Yet, God is nonexistent in the monster’s life.  However, God is looking down on Henry, a highly imperfect human, who couldn’t foster Frankenstein because of his own flawed nature.  Furthermore, Henry’s failure to nurture also represents the absent father toward his child (the monster).  Frankenstein seeks his nurturer/creator, Henry.  However, Henry  (interestingly enough with his obsession, you would think that he might pay more valid attention to his monster and show more care toward his creation), pervaded with misunderstanding, partakes in pushing the monster away.  He does this in many ways.  For example, when he briefly asks Fritz to quit torturing the monster, Fritz continues and Henry doesn’t do anything to stop this.  Henry makes the mistake in assuming Frankenstein doesn’t need a father or nurturer; however as seen in the film, without proper discipline, a child becomes out of control and eventually, it becomes too late to change that.  For example, the monster displays innocence and curiosity when he begins to play with Little Maria, just as any child would.  However, the monster misinterprets playtime because of his lack of knowledge and experience.  This soon leads to the little girl’s death. 

After the death of the little girl, the townspeople, in rage, immediately seek after the monster for revenge.  However, the town should’ve blamed the source: Henry for Little Maria’s death, because the monster is his creation.  Although Frankenstein was made up of dead and rotting body parts and given a “criminal brain,” he perhaps had the capability of learning good and righteous things.  However, the townspeople likely didn’t trace these horrific occurrences back to Henry.  After all, according to the Christian religion, the creator is the one who has the ability to change people.  Ultimately, Fritz’s reception of the criminal brain reiterates Henry’s irresponsibility as a father/creator. 

In the end of the film, Henry finally returns to the Frankenstein house, recovering with Elizabeth at his bedside.  We are reminded of the the scene when Henry first returns hom4 and neglects the monster.  In that scene, he expresses his love for remaining with Elizabeth, and questions his motives to have been in the castle with this creation, almost as if he has to convince himself that it’s wonderful to remain with Elizabeth.  While we don’t know what Henry is thinking in the final scene, I can’t help but wonder if he’s attempting to, once again, convince himself that he is back where he belongs. 

Because of Henry’s blatant homosexuality, scientific idol-like obsession, and abandonment of his creation, these Sadistic actions jeopardize his well-being and very life.  Also, Henry’s foolishness incidentally killed Dr. Waldman, Fritz, Little Maria, and stole his future wife’s virtue.  It seems that the multiple consequences that occur in the film teach the audience this lesson:  don’t replicate Frankenstein’s divergence from God by trying to be God because it will only result in destruction within your own life and others’ lives. 

Film Art:

Throughout the film, we can see the countless close ups and extreme close ups, which assist in developing the psychology of the characters.  The angle of framing also emphasizes Frankenstein’s presence as a true monster.  The lack of music in the film focused attention to the monster’s sounds and the characters’ screams of horror.  Along with other functions, these assisted in producing an effective film, exhibiting the story of Frankenstein and his monster.