In 1818, frankenstein, the first true science fiction novel, was published, a Gothic horror novel without the usual magic and miracles, which for the first time brought the concept of biological science into the novel, opening up the grand science fiction theme of "artificial life". It also allowed the twenty-year-old young British female writer Mary Shelley to leave the reputation of the "mother of science fiction" in the history of science fiction literature.
Mary Shelley – Frankenstein (1818)
The theme of human transgression of God's creation of life in the novel is full of provocations in that era of conservative faith, and the crazy experiments of the mad scientist Frankenstein have also filled the people in the scientific enlightenment with vigilance, not to mention the success of the novel to portray a pitiable monster who is abandoned and persecuted, and dies in loneliness and despair. Such a story theme that renders horror, challenges taboos and explores responsibility is naturally highly sought after by film manufacturers.
Frankenstein's monster
The first film adaptation of the novel Frankenstein was released in 1910 by the film company of the then-famous inventor Edison.
Produced by the Edison Film Company, Frankenstein in 1910
But the 16-minute film, like the deformed monster that jumped out of the boiler in a miserable white clown costume, is full of cheap plastic and is quite superficial in its relationship between Frankenstein and the monster.
Universal Pictures produced Frankenstein(1931) directed by James Wheel
Frankenstein, released by Universal Pictures in 1931 and directed by James Wheel, is arguably the most successful and classic Frankenstein adaptation.
Frankenstein (1935) Scientist Frankenstein confronts the monster he created
The film's bolt-in-cheek, stout but thick Franken monster is deeply rooted in people's hearts, and even Frankenstein has gradually become the name of the monster and the most recognized screen monster image. It can be remembered by the world for a long time, and from this point of view, James Wheel's film surpasses the original novel. In 1935, after James Wheel finished filming Invisible Man, he finally completed the sequel To the Bride of Frankenstein.
Universal Pictures produced Frankenstein's Bride, 1935 directed by James Wheel
Frankenstein's monsters are forced to perpetuate their tragic fate. It was thought that the female monster created by Frankenstein could no longer isolate herself, but this avant-garde woman with electric hair was also filled with terror and afraid of herself, so that the desperate monster had to destroy everything to relieve herself. But this is not the public catharsis of director James Wheel in the face of social isolation.
The Bride of Frankenstein (1935) The monster sees his kind and thinks he is no longer alone
After that, Universal Pictures carried forward the "good tradition" of Hollywood to make sequels, Lao Tzu died his son, and released a third sequel, "Children of Frankenstein", in 1939.
Universal Pictures produced Son of Frankenstein in 1939
In order to save the family's reputation, Frankenstein's son Wolfe revived Frankenstein's monsters, but the monster became a weapon for his father's former assistant Igor to take revenge on his personal vendetta. In order to save his son who was kidnapped by the monster, Wolfe slammed the monster into a sulfuric acid pool. The film is obviously more thrilling, but the audience is still disappointed by the film's one-sided violent horror of the monster.
Son of Frankenstein The resurrected monster is controlled by Igor
In 1942 Universal Pictures went on to release its fourth Film, The Ghost of Frankenstein, which was also a sequel to Sons of Frankenstein. Luckily, Igor took the monster's body and found Frankenstein's young son to resurrect the monster, and transplanted Igor's brain into the monster's skull.
Universal Pictures The Ghost of Frankenstein, 1942
From this point on, Universal connected its own well-known monsters and opened the "Monster Rally" and the final carnival. Although three films have been released for three consecutive years, it cannot stop the decline of Universal Pictures' Frankenstein film series in the last century.
The Ghost of Frankenstein (1942) The Evil Igor
In 1943's Frankenstein vs Werewolves, the werewolves resurrected Frankenstein's monsters in order to free themselves from fate.
Universal production Frankenstein vs Werewolf (1943).
1944's House of Frankenstein added the resurrected vampire Dracula, who wanted to be cured.
Universal Produced Frankenstein House, 1944
In 1945's House of Dracula, werewolves and vampires fail in their attempts to be healed by science, and they and Frankenstein's monsters end in the end of their own deaths.
Universal production of Dracula's House, 1945
Universal Pictures' 1948 "Two Fools vs. Frankenstein" became the masterpiece of Universal's "Horror Big Three" in the form of comedy.
Comedy "Two Fools vs Frankenstein" 1948 Global Horror Triumvirate
In Britain, however, Hammer introduced The Curse of Frankenstein in 1957.
The British Hammer Company used violence and blood to bring more terrifying monsters
Since then, the "Frankenstein" series of more ruthless scientists, more thrilling plots, more bloody killings, and more disgusting monsters has shocked screen audiences, and bloody horror has become the signature of the British Hammer Film Company.
British Hammer Company Frankenstein Cult Series
In Japan, Hondo Inoshiro, who had previously directed Godzilla, directed Frankenstein vs. Underground Monsters in 1965. Begin the path of localization and gigantic transformation of Frankenstein's monsters. Let the growing boy born from Frankenstein's heart be exposed to nuclear radiation, fight against the giant beast Bala and save Japan.
Frankenstein vs Balagan
Then, in 1966, Hondo inoshirō directed the sequel, Frankenstein: Sanda vs. Gera, in which a giant green and brown humanoid monster fought in Tokyo and eventually died under a volcanic eruption.
Two long-haired "Frankensteins" at the Battle of Tokyo Bay
In 1994, Robert De Niro's Monster was released. The film is considered to be the most faithful adaptation of Mary Shelley's original book, and it can be regarded as the "child" who has been lost for many years and finally returns to the arms of the "mother". Unfortunately, even with the addition of many powerful actors, the reputation of this movie is not very high.
The monster played by Robert De Niro feels kindness for the first time from a blind old man
After the turn of the millennium, Frankenstein's monster adaptations added more visual action adaptations that would satisfy the appetite of modern audiences. For example, in 2014's "I, Frankenstein", the monster became a demon slayer. There are even rumors that it was supposed to be linked to the "Legend of the Night" series, but the reputation after the release was too poor.
Frankenstein vs Hell Demons
In 2015, "Victor Frankenstein", played by "One Beauty" McAvoy and "Harry Potter" Daniel as assistant Igor, also did not meet the expected good reputation. Interestingly, Igor's hunchbacked clown image at the beginning of the film is clearly a nod to Edison's first Frankenstein film adaptation.
Overall, the Frankenstein adaptation that has earned a high reputation is really lackluster. The two adaptations directed by James Wheel in the 1930s are still recognized as the best adaptations.
In the next scene, the monster throws the girl into the water thinking she will float like a petal
In fact, in recent years, the best adaptation of word-of-mouth is a stage play. In 2011, the stage play "Frankenstein", starring "British Sherlock Holmes" Cumberbatch and "American Sherlock Holmes" Johnny, once again presented the charm and essence of Mary Shelley's novel. And the breathtaking and shocking performances of the two powerful actors are exemplary. In particular, the scene where the monster played by Cumberbatch struggles to stagger out of the mother's body, and the effect of the stage lighting and music is shocking.
Cumberbatch plays Frankenstein's monster
In any case, the story of Mary Shelley's modern Prometheus has a significant position and an important role in promoting science fiction literature and film. Whatever the way or style of adaptation, it is a different interpretation of the creator, and it is also a variety of Mary Shelley's monsters.