Frankenstein

created by Axodys
(person) by yerricde (11.4 mon) (print)   (I like it!) Thu Dec 21 2000 at 1:42:22

Cognition level 1:

The popular conception is that the monster in Mary Shelley's Frankenstein, or the Modern Prometheus, was named Frankenstein.

Cognition level 2:

People who think they "know something" about Frankenstein recognize that Frankenstein was the name of the university student who created the monster (thanks Evil Catullus for clarification).

Cognition level 3:

A son generally shares the surname of his father. Those who have also read Carlo Collodi's Pinocchio (part of Project Nodeberg) would realize that Pinocchio, like the monster, could be considered the "son" of the creator. For example, just as Geppetto Baccigaluppo's "son" is named Pinocchio Baccigaluppo (until he gets adopted), Victor Frankenstein's "son" (the monster) also has a surname of Frankenstein. The biggest difference is that while Pinocchio initially runs away from Geppetto, Victor abandons his creation (thanks sfc), putting the "son" status in question.

on the other hand:

<StrawberryFrog> Pinocchio did not have a perfectly good human brain before Geppetto carved him.
(thing) by -brazil- (2.9 y) (print)   (I like it!) 1 C! Mon Feb 05 2001 at 6:23:51
A famous novel by Mary Shelley, the full title is Frankenstein, or the Modern Prometheus (get the full text of the book there!). The author wrote the book in 1816, at the age of 19, while living in Geneva. The story: A student of medicine, Victor Frankenstein, creates an artificial being who, realizing that it will always be feared and hated, becomes homicidal.

More widely known than the novel is the 1931 movie adaption directed by James Whale and starring Boris Karloff.

The setting of the novel is Ingolstadt, a small town in southern Germany, about 80km north of Munich. Ingolstadt had, at that time, one of the oldest universities in Europe, which was later incorporated into Munich's LMU. This university was also where the Illuminati were founded, an academic secret society the most famous member of which had been Goethe. Marry Shelley's husband, Percy Bysshe Shelley had connections to them, and this was probably also a source of inspiration for the book.

(thing) by evadyne (6.8 mon) (print)   (I like it!) 3 C!s Wed Apr 17 2002 at 4:47:29

Frankenstein lives as one of the greatest monstrosities in film history

The movie you're about to see "may shock you -- it may even horrify you," opens the narrator; a man in a tuxedo. These "words of friendly warning" seem as a joke to the modern viewer who is used to blood and gore, chilling music and axe murderers. But in 1931, theatres were littered with fainted women when James Whale finished his version of Frankenstein. In this version of Mary Shelley's book, James Whale and his actors, set designers, cinematographers and makeup artists, had the ingenuity, patience and sheer guts (if you excuse the pun) to make this picture a success.

The film opens in a graveyard, deeply shadowed, where self-deifying scientist Dr. Frankenstein (Colin Clive) and his assistant, Fritz (Dwight Frye), gather body parts to "experiment on," creating life and all the responsibilities that lie therein. The monster (Boris Karloff) is treated badly by his creator and vows to make him pay. As the monster becomes more murderous, interrupting Dr. Frankenstein and fiancée, Elizabeth (Mae Clark)'s wedding, the doctor descends deeper and deeper into madness; until the line is blurred as to who the monster is: created or creator.

Many factors determined this film's success, including the cinematography, which was revolutionary for the time. The lighting is harsh oftentimes mostly dark, making most of the characters look rather ghoulish. The use of German Expressionist angles (particularly while shooting the creation scene) intensifies the drama, bringing the audience in awestruck. James Whale was meticulous, sure that the contrast and composition were dead on both practically and artistically.

The setting was also done with a significant amount of drama. The opening scene, as well as several others is very obviously a sound stage, as you can see the painted sky in the background. The sound stage and high contrast shadows, combined with the unnatural movements of many of the characters provide a vastly surreal landscape. The outside of the lab shows Dr. Frankenstein behind bars, like a princess locked in the highest tower, waiting for salvation. Technical looking ray gun equipment, vials, and test tubes are littered in the mad doctor's lab. The stones inside the lab circle the ceiling, (which has a pantheon-like hole) and during the creation scene, the lightning flashing in the ceiling's hole creates a halo effect around the not-yet-vivacious monster. Contrast these dark scenes to Dr. Frankenstein's ornate mansion and the friendly village, and the impact becomes all the more emphatic.

And who could forget the startling face of the monster himself? Makeup artist Jack B. Pierce's work is astounding. The makeup was done to allow full facial movement so Karloff could display a complete range of emotions. Again, the Monster does not appear to be realistically dead, but the bizarre face further conveys the meaning of the story. It is no coincidence that the Monster and Dr. Frankenstein are both cast as strikingly pale men. This accentuates the monstrous aspects of both characters, making it easier to realize their relationship.

The acting in this movie is a tad melodramatic, as is common in many old movies, but, like the set and makeup, it fits into the movie, which is not realistic, but tells a profound story. Colin Clive does an excellent job as the doctor that plays God only to be driven mad by the repercussions: an ugly monster that cannot easily blend into society. Clive's traditional 1930s melodrama adequately portrayed him as the tragic hero; a brilliant man obsessed with an idea. But Karloff is the real star, subtly showing his sad eyes, giving the speechless, nameless monster a soul. We see how he is misunderstood, mistreated; chained in the basement, beaten by Fritz, and we begin to understand. Whale focuses on Karloff's hands, shaking in uncertainty and pain, and we begin to know the innocent monster and feel for him. In one famous and highly effective scene, the monster has escaped and finds Maria, a little peasant girl, with whom he instantly connects. You can instantly see the creature smile, and you feel a kinship with the character. The fact that the Monster drowns the girl is not an indicator of his savagery, but of his humanity; Karloff's character simply did not realize that all beautiful things do not float.

Though classic, poignant and composed, Frankenstein was not without its problems, although most of them were not problems at the time of release. A modern viewer will see through the at-the-time revolutionary special effects and laugh at the cheesiness. The modern viewer will also agree that most of the scenery and costuming of the movie is quite cliché; one must keep in mind that James Whale and his crew invented these prescriptions for a horror film. One might also tire of the extra silence; there is very little music; this could be useful in some of the suspenseful and touching scenes.

A reader of Mary Shelley's classic novel, Frankenstein (or, The Modern Prometheus) might argue that the many inconsistencies between the book and the movie are a problem. Many of these inconsistencies are cleared up in Whale's sequel, the Bride of Frankenstein, where the essence of the latter half is redeemed; still, one might note a few more deviations. For one; the book is told from the point of views of Robert Walton (a sailor that picks up Dr. Frankenstein) the Creature, Dr. Victor Frankenstein (as opposed to Harry), as well as several other letters. The book seems to be as stitched together as the Monster, a little bit from quite a few. Another discrepancy between the book and movie is that Mary Shelley's monster is quite vocal; telling us about his story quite eloquently. Shelley's Creature is compassionate, saving a peasant from drowning, and still regarded with disgust. Whale's monster does not talk, but Karloff does an extraordinary (perhaps more heart wrenching) job conveying the same misunderstanding.

Frankenstein incorporates revolutionary acting, directing and visuals to make a historical epic of a film. One of a select few artistic horror films, James Whale directs a stunningly original creative phenomenon. We will never forget the traditional mad scientist lab, or the stiff monster with neck bolts. The line "It's ALIVE!" will be quoted dozens of times by innocent passersby. This movie has created so many conventions that it is equally important for study as for entertainment. Combined with amazing set design and Pierce's mind engraving makeup art, Frankenstein will be forever remembered as a film that shaped a genre.

(idea) by BrianShader (1.7 y) (print)   (I like it!) 3 C!s Mon Oct 07 2002 at 19:20:06

As evadyne touches on above, Shelley's original novel is related by Dr. Frankenstein to a ship's captain, Robert Walton. The opening chapters of the book are letters from Walton himself, who describes how he comes to pick up Frankenstein while attempting to cross the arctic and then the narrative switches to Frankenstein's perspective. Thus the novel is not presented in a chronologically linear fashion, but rather the novel begins with a portion of the middle of the story. Walton is generally lost from film adaptations of the novel, but it is interesting to note that there are surely certain parallels between the two characters, and here I will explore to what extent the characters are the same personality caught in different circumstances.

An important parallel between the two is their pursuit of a forbidden quest, an irrepressible desire to push back the boundaries of current human knowledge. For Frankenstein, this means the creation of life from non-life. Walton, on the other hand, desires to explore the polar regions further than any man before him, to "tread a land never before imprinted by the foot of man". To the audience of the time, with their small knowledge of biology and geography, both of these would be pressing concerns. Should man be allowed to explore the far reaches of the earth? A modern reader would consider this a trivial concern but in the 19th century, when large portions of the world map remained blank, it was not at all clear that such exploration was well-advised. Genetic modification of life, the creation of so-called "Frankenstein foods", remains a hot topic today. Nevertheless, the seemingly endless, unrestrained advance of science was a controversial topic to Shelley's audience, and so seen in historical context of it's publication, it is clear that both characters are in search of some form of occult knowledge.

Both characters also receive the disapproval of more than just the morals of society at large, for they are both subject to a certain parental condemnation. Walton's father banned him from a "sea-faring life"; Frankenstein is repeatedly chided by his sister Elizabeth for detaching himself from the family to pursue his scientific goals. The fact that both characters nevertheless deny the requests of their families demonstrates just how dedicated they are to their respective quests, and brings us to another parallel between them:

Frankenstein's dedication is evident from the reader's first encounter with him; although he is "dreadfully emaciated by fatigue and suffering", his first enquiry of Walton's ship, his only source of rescue, is "whither [they] are bound" - he feels he is a part of something more important than his own life. He later makes this explicit himself, saying his endeavour is "more important than whether one man should live or die." Walton's endurance is perhaps not so maniacal, although his desire to go onwards to the pole even when they are "shut in by ice" suggests that he too is not lacking in resolution. This might be seen by the reader as a difference in the characters, with Frankenstein having a more irrational desire to continue, but I would argue it is simply a matter of circumstance - both characters overcome what hardship they face, although the hardship itself is of different degrees. We cannot judge Walton to be less commited simply because he has not had the misfortune to encounter harder times.

It is not that the two men are never disheartened - Frankenstein is "frequently in low spirits", and Walton's exaggerated self-encouragement in his letters suggests he feels his own spirits are failing. Their dedication is shown in that they continue despite temporary concern that they cannot succeed.

Another parallel between the characters is apparent in their search for personal glory. Walton claims that "discovering a passage near the pole to those [far-off] countries" is a secondary consideration for him, although there is no way to be certain just how much he really desires the recognition this would bring him. Frankenstein, on the other hand, makes no secret that he wants to supersede the work of "so many men of genius", such that he alone "should be reserved to discover so astonishing a secret." This is a key factor in explaining their all-pervading desire to uncover this hidden knowledge, although to some extent their devotion still seems irrational at times.

A further similarity of the characters becomes apparent when one examines their respective attitudes to their families. The reader can tell that Walton enjoyed a close relationship with his sister, as the epistolary opening of the book is addressed to her, but also it is clear that he wished to escape the "known" world of living with her and his family. Likewise, Frankenstein remains in contact with Elizabeth even during the height of his obsession with creating his monster, and it is not until he falls ill that this contact is broken. As soon as this occurs, Elizabeth writes to him, saying "one word from you, dear Victor, is necessary to calm our apprehensions." Clearly, he comes from a close-knit family unit, and his description of his mother as "angelic" reinforces this. However, like Walton, he moves away from the safety of this closed family unit, and into University. Both characters have ambition to move beyond that which is well known, both in terms of their family and the boundaries of science.

It is in their personal relationships that the reader encounters the first clear difference between the characters. While Frankenstein "had a friend once", in Clerval, Walton has "one want which [he] has never yet been able to satisfy" - that is, he has "no friend". Neither character found it easy to make friends in their young days, but while Walton often has depressed spirits due to eternal loneliness, Frankenstein at least had a single close accomplice in his younger days, and while at University he found "a true friend" in M. Waldman. In this way, Frankenstein has been slightly more `successful' in these stakes than Walton, but their individual natures as outcasts perhaps explains how they come to bond to each other so quickly. For sure, the chasm between few friends and none is great, and so there is an undeniable difference between them here - but again it is impossible to say how far this is due to circumstance. Would the character of Walton, placed in Frankenstein's circumstance, have made the same friends or any? There is no way to infer the answer either way. from the text, without hopeless speculation.

However, this leads back to another similarity between the characters; their depression. Walton confides in Frankenstein that his "spirits are often depressed" and Frankenstein addresses him as "unhappy man" - Walton recognises his own inner sadness, and it is apparent to others also. Likewise, Walton describes Frankenstein as "generally melancholy and despairing" and Frankenstein himself says he has "lost everything". It is interesting to note how the characters differ in their reaction to their despair; Walton tells his sister and Frankenstein about it, but does little to remedy the situation. Frankenstein, however, tells his whole story to Walton by way of a cautionary tale, so that he may avoid the same fate. Walton seems to feel the weight of having to not only "raise the spirits of others" but also "sustain [his] own" more heavily than Frankenstein suffers his own pain - and yet it is Frankenstein who suffers a nervous breakdown. Shelley perhaps wished to indicate the contrast between Walton's chronic sadness over his solitude and the acute suffering of Frankenstein when his great plan falls apart.

Frankenstein's failure draws attention to another possible difference in the characters, that is, their initial perception of the creature. When he catches sight of the creature on a sledge, Walton observes simply a "being which had the shape of a man but apparently of gigantic stature," and this is close to Frankenstein's original description of his creation as "of a gigantic stature" and "about eight feet in height". That the two characters use the same phrase to describe the creature before his nature is understood emphasises the similarity of the way they see the world. Nevertheless, once he understands the full implications of what he has created, Frankenstein refers to it as "the demon", and Walton imitates him. Therefore I would conclude that the difference in the way they describe the character stems from the different levels of understanding they have of its nature - and when they are at the same level, they describe it in the same way.

There is one final difference between the two characters. Frankenstein's pursuit ultimately ends in a failure of sorts, because although he accomplishes his initial aim, it ends in personal disaster for him. Walton's final fate is never revealed but Shelley perhaps suggests that his quest will bring him an untimely demise like Frankenstein's, by the extent to which their fates are otherwise mirrored. Nonetheless, it is fair to say that, within the time frame of the novel, Frankenstein experiences failure while Walton at least avoids it, even if he does not taste success.

In conclusion, I would say that Walton can be said to be a mirror image of Frankenstein to a great extent. In many aspects of their character they are alike, and, perhaps as a consequence of that, their histories are similar also. Those few places where their backgrounds appear to differ can, for the most part, be seen as their being at different points along the road of their ultimate fate. Shelley, I believe, makes clever use of this parallel to suggest the ultimate fate of Walton himself. Overall, they certainly have very similar personalities.

(idea) by LaylaLeigh (8.5 mon) (print)   (I like it!) 3 C!s Wed Dec 18 2002 at 0:13:08
Background

Mary Godwin (later Shelley) was born on 30 August, 1797 to Mary Wollstonecraft, a feminist, and William Godwin, a political writer. Mary's mother died 15 days after she was born, and Mary herself had a child prematurely that died when she was 16.

Her father taught her to be fascinated but terrified by technology. And even though her mother died too early for Mary to remember, Mary (who was also a vegetarian) was taught by her mother posthumously by writings, to respect nature. This was the feeling of many other writers and poets during the Romantic period. Other bibliogensises other than her father (Political Justice) and her mother (A Vindication on the Rights of Women) include Milton's Paradise Lost, Rousseau, and Phantasmagoriana.

In 1816, Mary Shelley came to Lord Byron's summer house in Geneva with her husband, Percy. B Shelley, a contemporary of Byron, and her stepsister Claire Clairmont. Due to the inclement weather of the summer, most of it was spent inside the villa. One night, someone suggested that they place a bet, a contest of sorts: they would see who could write the most thrilling, horrifying tale. John Polidori, Clairmont, Byron, Shelley, and Mary were all present that night, but none of the stories compared to Mary's tale, written when she was a mere teenager.

In fact, she was having quite a problem writing the book, until one night she had a horrifying dream. From the 1831 edition of Frankenstein:

"...the pale student of unhallowed arts standing before the thing he had put together, I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life and stir with an uneasy, half vital motion..."

Upon her dream vision, Mary would begin to write the original and best Gothic tale. Not only was it horrifying, but it had a lot to say. Like many classic novels, Frankenstein: Or, A Modern Prometheus as it came to be titled, went through a process of transmorgification. From the outline of a ghost story (1816) written only for friends, through a first edition in 1818, edited by her husband Shelley, to the final product of 1831, we see how Mary Shelley crafted what she called her "hideous progeny".

A Woman's Role

Life comes from two living beings (or at least that's what I hear...), and that being is delivered into the world by the female. It's always been that way, it is that way, and it probably always will be. Even though childbirth can be grueling, it's still one of the most wonderful gifts from God: the gift to bring another life into the world. Feminists argue that in Frankenstein, this gift is stolen by Dr. Victor Frankenstein when he creates a being. By doing this, Shelley is reflecting the attitude of society towards women of the day: as inferiors.

Victor's egotistical move takes God's work into his own hands, challenging the higher authority. Society of the day saw women as powerless, and the creation in the book demonstrates this by easily seizing that power, and making life without a mother (this "motherless child" could also be a reflection of Mary herself-she never knew her mother).

Weaving the Romantic tenet of nature into her story, Shelley often combines the forces of nature and the being of women, using metaphor and personification to demonstrate her thoughts. It was beautiful outside his laboratory, but Victor became too engulfed in his work to recognise its beauty and serenity. His dream after the creation of he and Elizabeth (his adoptive sister and lover)'s nonexistent child is an eerie perspicacity to what will never be.

The creature is an objectification of Victor's ego-made into an object separate from himself. Similarly, Shelley reveals herself in the creation of the novel. This unresolved Oedipal complex may have rang true for both Shelley and Frankenstein- the death of the mother fixates their dream of reviving the dead.

Identity

Besides Victor and Shelley, there are other struggles within the novel for identity. The creature itself presents the largest example. He is rightfully confused, he has no parents, no past, no family, no anything. So when initially the creature leaves, this could be a physical representation of what is happening in his mind. At first, he is childlike, even psychosomatic, in his thinking. Eventually, he matures and learns the language of the DeLacey family, whom he observes after he flees from Frankenstein.

Rejected by them and everyone else around him because of his appearance, the creature begins to realise that he is ugly and hated. "Where they ought to see a kind friend, they behold only a detestable monster," he says. So he himself becomes a monster. In his rage, he turns to Victor again. The creature returns to Victor, asking him one last favour. He wants a female counterpart, one as ugly and miserable as he-to be his companion. All the creature needs is someone to understand, and he realises that humans are too cruel to accept someone like him. "I should not be so desolate in this peopled earth," he remarks, justifying his cause.

Victor, at first, refuses, but then accepts. However, in the middle of working on "her", he destorys the second creature, not wishing to do any more ill. The creature, outraged, declares "I will be with you on your wedding night!" Those words haunt Victor until, indeed, the creature bursts through the window on he and Elizabeth's honeymoon, and proceeds to strangle Elizabeth. Abandoned, full of rage, and alone, the creature does not stop his search for himself. He follows Victor all the way to his icy grave-just yearning to know why he is alive, why he is being. In a very sad instance, he never finds this out, and disappears.

"My life is a blot, a blind vacancy in which I distinguish