@frankensteingdt From Guillermo del Toro, #FRANKENSTEIN ♬ original sound - Frankenstein

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From Fright Song to Frankenstein: Monsters Unite 🎶⚡🫀

A playful anthem of belonging meets a gothic opera of obsession, rejection, and humanity. Whether in pop culture beats or cinematic tragedy, monsters remind us that being different is sacred—and that we all carry the Creature within.

🎶 ⚡🧪💀🔥💔🫀🎬🏛️🕯️🌌👹📖🎻🎭 🔊 Monster High Fright Song ft. KATSEYE

Nearly twenty years ago, Guillermo del Toro announced his intention to adapt Frankenstein; or, The Modern Prometheus, Mary Shelley’s 1818 masterpiece.

Watching the film he premiered at the Venice Film Festival this summer, it is clear the Mexican filmmaker has carried this project far longer—since childhood, when he first encountered James Whale’s 1932 Frankenstein. His cinema has always been haunted by monsters, from the metaphysical anxiety of Cronos (1993) to the childhood terrors of Pan’s Labyrinth (2006), the romanticism of Crimson Peak (2015), and the compassion of The Shape of Water (2018). All roads led to this definitive retelling.

🔥 Obsession and Creation

In Frankenstein, Victor Frankenstein (Oscar Isaac) is a tortured genius whose obsession drives him to defy mortality. His creation, played by Jacob Elordi, is viewed by Victor as a monstrous experiment. Yet for del Toro, the Creature is something sacred—his “patron saint.” The director has lived with Shelley’s invention all his life, calling it “the Bible” of his imagination. His film reframes obsession not as madness alone, but as a tragic yearning for transcendence.

💔 Rejection and Anxiety

Del Toro emphasizes the adolescent anxiety embedded in Shelley’s novel—the confusion of discovering a world full of lies and contradictions. He sought to translate “the rhythms of Mary Shelley” into dialogue that feels faithful yet alive, capturing the pulse of youthful disillusionment. The Creature’s rejection by society becomes the film’s emotional core, a mirror of Victor’s own fractured humanity.

🫀 Humanity and Modernism

For del Toro, Shelley’s book was never a period piece but a modern work. His adaptation avoids pastel nostalgia, favoring bold, swaggering fashions and luscious colors. Humanity is expressed not only in the Creature’s longing for companionship but in the film’s refusal to fossilize Shelley’s vision. The story remains urgent, asking timeless questions about fathers and sons, creators and creations, and the fragile bonds of love.

📖 Monsters as Patrons

“Mary Shelley’s masterpiece is rife with questions that burn brightly in my soul,” del Toro explains. “For me, only monsters hold the secrets I long for.” His Creature is not simply a monster but a vessel of existential truth. The film insists that monsters inhabit our dreams to offer solace, reminding us that we are all “creatures lost and found.”

🎬 A Gothic Opera

Del Toro’s Frankenstein is both faithful and deeply personal—a Miltonian tragedy, a gothic opera, and a meditation on obsession, rejection, and humanity. Streaming now on Netflix after its Venice debut, it is the culmination of a lifelong vision. As del Toro himself hopes: may monsters inhabit our dreams, and may his Creature breathe within us long after the credits fade.

#ItsAlive 🧪 #MonsterMyth 👹 #Obsession 🔥 #Rejection 💔 #Humanity 🫀