Earlier this week, the internet was abuzz with an image released from the upcoming film The Bride! (The exclamation point is part of the title – I’m interested, but not so excited as to declare it via punctuation.) Written and directed by Maggie Gyllenhaal, this movie seems to be an updated version of the Frankenstein story, moved to the 1930s and starring Bale as the monster and Jessie Buckly as the titular bride. Director James Whale’s original Bride of Frankenstein is probably the best of the old Universal Monster movies from the 30s and 40s, and ol’ Vic’s creation is hands-down my favorite classic monster, so news of this film intrigues me. But I think it intrigues me even more than it ordinarily would  because with this movie, at least the fifth Frankenstein-derived film released or announced in recent years, it seems that we are in the midst of a full-scale Frankenssance.

Let’s do a quick bit of literary spelunking for anyone who doesn’t know the story (both of you). In 1816, Mary Godwin was vacationing at the home of her friend Lord Byron with her soon-to-be husband Percy Shelley. This was in the era when visiting a friend could be an extended stay that lasted weeks or months at a time, as opposed to modern times when it lasts until the owner of the home claps his knees and says, “Well, I don’t let me keep you any longer” because the Pelicans game starts in a half-hour and he doesn’t want to watch it with a dirty Celtics fan like you. It was an exceptionally rainy and dreary summer, and to pass the time trapped inside, Byron proposed that they each write a “ghost story” to entertain one another. If you ever wonder which of them won that little competition, remember that it’s 200 years later and the only one that we’re still reading is the one that was written by the 19-year-old girl.

By the way, I really want to stress how amazing that is to me. Whenever somebody talks about the creation of Frankenstein, or the Modern Prometheus, they focus on how shocking it was that it was written by a woman. That shouldn’t be what surprises you. I’m a high school English teacher and I’m not shocked at all that a masterpiece of literature was written by a woman. I’m shocked that it was written by somebody the same age as a student that I had to ask to stop from pouring Pop Rocks into a bottle of Coke in the back of my classroom last week while I was trying to review gerunds. 

But I digress. The story follows Victor Frankenstein, a college dropout (nope, he’s not a doctor) who is so obsessed with conquering death following the loss of his mother that he finds a way to reanimate dead tissue. But when he does so, he’s so horrified by the hideousness of his creation that he flees in terror, leaving it to fend for itself. I always interpret his fear as being an expression of the Uncanny Valley problem, where something is so CLOSE to looking authentically human that even the smallest deviation is unacceptable to the eye, which is one of the many ways that the story of Frankenstein is a great metaphor for modern AI.

Most people, of course, think of Boris Karloff’s version of the creature when they think of Frankenstein’s monster: the monosyllabic, hulking brute with the flattop, green skin, and bolts on his neck, whereas none of that really applies to the vision in Shelley’s novel. But that’s okay. I think that one of the things that really makes a character – any character – into a timeless one is its potential for reinvention. Compare the original Arthur Conan Doyle Sherlock Holmes stories to the Basil Rathbone movies, the Robert Downey Jr. version, or the Benedict Cumberbatch series. All are perfectly valid, but very different from one another. Think of all the different depictions there have been of Batman, Superman, Tarzan, Dorothy of Oz, Cinderella…if a character is unable to be adapted, it’s not a character likely to achieve immortality. Victor Frankenstein may not have lived forever himself, but the versatility of his creation ensures that his name will last forever.

Like I said, we all know Boris Karloff, but he wasn’t the first cinematic Frankenstein. That honor belongs to Augustus Phillips, who played the creature in a 14-minute film produced by Thomas Edison in 1910. After Karloff played the creature, the role was passed to Lon Chaney Jr., then Bela Lugosi, then Glenn Strange, who rounded out Universal’s original version of the creature in one of my favorite films of all time, Abbott and Costello Meet Frankenstein. 

Since then the list of actors who have played the creature is staggering: Robert De Niro in Mary Shelley’s Frankenstein (1994), Christopher Lee in The Curse of Frankenstein (1957), Aaron Eckhart in I, Frankenstein (2014), Clancy Brown in The Bride (1985), and Tom Noonan in The Monster Squad (1987), and that just scratches the surface. There was a stage version in which Benedict Cumberbatch and Johnny Lee Miller EACH played the Creature and Victor Frankenstein, alternating nights. As of this writing, IMDB credits Mary Shelley as the writer on 115 different projects, and frankly, I think that number is low. I mentioned last week that I’ve got a little obsession with creating lists. On Letterboxd, I’ve logged 55 different movies that I tagged as adapting or being inspired by Mary Shelley’s creation, including Mel Brooks’s Young Frankenstein, The Rocky Horror Picture Show, the Hotel Transylvania series, all of the Universal films that featured the creature and several – but not all – of the Hammer Horror films that did the same. I’ve got a list of nearly 50 other Frankenstein movies that I haven’t seen yet, but I hope to get around to eventually. 

There’s a LOT of Frankenstein out there, is what I’m getting at. And while they haven’t all been great, there have been a lot of very interesting ones. We seem to have reached one of those moments in the cultural zeitgeist (there’s another English teacher word for you, folks) where the Creature is in ascendance. In addition to Gyllenaal’s The Bride!, Guillermo del Toro is working on his own version of the story for Netflix starring Oscar Isaac as Victor, Jacob Eldori as the creature, and current horror It Girl Mia Goth in a role that doesn’t seem to have been specified yet. A lot of sources seem to be reporting that she’s playing the Bride, but those same sources also reported that Isaac was playing the creature and Andrew Garfield was playing Victor Frankenstein, and those reports seem to have been wrong. It likely depends on how faithful del Toro intends to be to the original novel. (The bride existed in the original novel, by the way, but was destroyed by Victor before he could bring her to life.) It’s hard to say which of these two movies I’m more interested in. The images of Christian Bale are intriguing, but I don’t think I’ve ever been disappointed by a Guillermo del Toro film. The man won best picture for what was essentially a remake of The Creature From the Black Lagoon, and let’s hear it for the Universal executive who passed on that movie. 

Of course, two upcoming films would not, in and of themselves, qualify as a Frankenssance. But those aren’t the only ones. In the last two years there have been at least three significant films based at least in part on the Frankenstein legend, all of which I’ve watched during my spring break, because that’s what spring break is for. First up, let’s talk about Poor Things, the movie that scored Oscar nominations for Best Picture and Best Director and a Best Actress win for Emma Stone. Based on the novel by Alasdair Gray, this film tells of a dead young woman (Stone) whose body is reanimated by a scientist (Willem Dafoe). The woman, dubbed Bella, starts with a blank slate of a mind, an infant mentality, and as she grows to learn about the world around her, finds herself rejecting many of the Victorian standards of morality and the world’s treatment of women. I haven’t read the book, but the film was an interesting statement about gender roles of the time period. I was a little disappointed that they didn’t spend as much time with Willem Dafoe’s character, though, a malformed scientist who seems to have an unusual kind of kinship with Bella. The film never quite makes it plain, but the interpretation I came away with is that Dafoe’s Godwin Baxter was actually the original Frankenstein monster, carrying on his father’s work. I don’t know if that was the intention of the film or the original novel. I suppose I could look it up, but where would the fun be in that?

Earlier this year we saw the release of the Zelda Williams-directed Lisa Frankenstein. In this film, set in 1989, Kathryn Newton (the actress getting all of the horror movie roles that aren’t going to Mia Goth) plays a teenage girl trying to begin a new life in a new town after her father remarries only six months after her mother’s violent death. Lisa doesn’t seem to fit in anywhere, not with her brutally abusive stepmother (Carla Guigno) or her well-meaning but vapid new stepsister (Liza Soberano). The closest thing she has to a friend is a bust on a tombstone she finds in an old, abandoned cemetery. A bolt of lightning reanimates the corpse underneath (Cole Sprouse) and they embark on a vendetta of revenge. The film is a horror comedy, although it’s got a darker, even meaner tone than I expected, but it’s made very well. The movie is the directorial debut for Williams (daughter of the late Robin) and I’m very interested to see what she can do next.

But the best neo-Frankenstein I’ve watched lately is probably the one you’re least likely to have heard of: The Angry Black Girl and Her Monster, written and directed by Bomani J. Story. Originally released via Shudder and now on Hulu, if you’re a Frankenstein fan, you’ve gotta check it out. Laya DeLeon Hayes plays Vicaria, a teenage girl who (like the original Victor) has been obsessed with conquering death since the early loss of her mother. Her rage is compounded when she loses her brother to violence, and she sets out to prove that death is a disease and she can cure it. The movie is set in the present-day, and Story wears his influences on his sleeve. It’s the furthest removed film from Mary Shelly’s original time, and yet, it also seems to be the one most devoted to her original vision. The idea of treating death as a disease is very much reflective of what Shelley wrote about 200 years ago, and while Story applies a contemporary lens and modern social issues to his tale, it still feels very authentically Frankenstein.

As I always say, if there’s one thing that a geek always wants, it’s more. For a fan of Shelley and Karloff and Strange like myself, this new influx of Frankenstein material can only be a good thing. I’m always anxious to see another twist or another take on the story. Keep them coming, Hollywood, and I’ll keep watching.

And once this wave passes, we’ll talk about giving the Wolfman his turn.

Blake M. Petit is a writer, teacher, and dad from Ama, Louisiana. His most recent writing project is the superhero adventure series Other People’s Heroes: Little Stars, now complete on Amazon’s Kindle Vella platform. If you didn’t know he was a devoted fan of Frankenstein, he can only imagine that you didn’t pay attention last Christmas when he was re-presenting all of his old short stories, like “Warmth.”