"The Creature-played by the very tall Australian ex- Elvis Jacob Elordi-hovers at the edge of the four-poster in the full sun, one arm on a bedpost, white bandages drifting gorgeously from his arms and shoulders, and wrapping his nethers like a loincloth. To put it bluntly, del Toro's Creature is hot, an entity almost without precedent in the world of Frankenstein adaptations, but one uniquely suited for the age of romantasy."
""His limbs were in proportion, and I had selected his features as beautiful," he tells us, describing how much work he's put into making sure that his guy will look like-well-Jacob Elordi. The results are anything but. Although his creation has "lustrous black" hair and teeth "of a pearly whiteness," he also sports "yellow skin" that barely conceals the muscles and arteries underneath, "watery eyes" set in "dun white sockets,""
Guillermo del Toro's Netflix adaptation casts Oscar Isaac as Victor Frankenstein and Jacob Elordi as the Creature, presenting a visually romanticized creation. Victor inspects an ivory miniature of a pregnant woman, nods at his inert Creature, and later awakens to find a radiant, bandaged Creature poised in sunlight, provoking joy and embrace scored by violins as a falling-in-love moment. The film's Creature is portrayed as physically alluring and aligned with romantasy aesthetics. Mary Shelley's original novel describes the Creature as grotesque, with yellow skin, exposed muscles and arteries, watery eyes in dun white sockets, a shriveled complexion, and straight black lips. The film reframes the creator-creation relationship by shifting tone from horror to romance.
Read at Slate Magazine
Unable to calculate read time
Collection
[
|
...
]