1994 Directed by Kenneth Branagh
Based on Mary Shelley's novel, "Frankenstein" tells the story of Victor Frankenstein, a promising young doctor who, devastated by the death of his mother during childbirth, becomes obsessed with bringing the dead back to life. His experiments lead to the creation of a monster, which Frankenstein has put together with the remains of corpses. It's not long before Frankenstein regrets his actions.
Robert De Niro Kenneth Branagh Tom Hulce Helena Bonham Carter Aidan Quinn Ian Holm Richard Briers John Cleese Robert Hardy Cherie Lunghi Celia Imrie Trevyn McDowell Mark Hadfield Gerard Horan Joanna Roth Alfred Bell Sasha Hanau Joseph England Richard Clifford George Asprey Hugh Bonneville Ryan J-W Smith Charles Wyn-Davies Rory Jennings Christina Cuttall Hannah Taylor-Gordon Susan Field Jimmy Yuill Chris Barnes Show All…
Francis Ford Coppola Robert De Niro James V. Hart Kenneth Branagh David Parfitt Jeff Kleeman John Veitch
Ivan Sharrock Jenny Lee Wright Graham Sutton Ricky Butt Colin Miller Pauline Griffith Dominic Lester Robin O'Donoghue Tom Meadows John Bateman Campbell Askew
Frankenstein de Mary Shelley, 科学怪人之再生情狂, Frankeştayn, Mary Shelleys Frankenstein, Frankenstein, Frankenstein di Mary Shelley, Франкенштейн, 科学怪人, פרנקנשטיין, Mary Shelley'den Frankenstein, Франкенщайн, 프랑켄슈타인, Mary Shelleyn Frankenstein, Frankenstein d'après Mary Shelley, フランケンシュタイン, Merės Šeley Frankenšteinas, ფრანკენშტეინი
Ireland15
Spain18
UK15
USAR
AustraliaM
Germany16
France12
South Korea18
Brazil14
PortugalM/16
Hungary16
Czechia15
USAR
Australia
Brazil
Czechia
France
Germany
Hungary
Ireland
Portugal
South Korea
Spain
UK
USA
Every line is shouted, every shot the camera is spinning in circles around the actors. Ken, dude, you gotta chill out.
Absolutely gorgeous, all the money they threw at another classic literary monster after BRAM STOKER'S DRACULA blew up is right there on the screen, but where Coppola pervily transmuted that text into a syphilitic sex panic nightmare, Branagh characteristically manages only to make a very literal adaptation here, reverently underlining every thematic note. Not that there's any real shame in that, you could do a hell of a lot worse.
Grandiose production and way more intriguing than I remembered, Branagh’s overblown efforts mostly pay off here, I love the first act with its period whimsy and last act with its mean spirited reminder that burning love and incomparable obsession usually always end in raging flames. There’s some good stuff in the second act—namely Frankenstein insane laboratory and the giant placenta tub the monster chills in, but I’d be lying if I said my patience was wondering, but once the monster is holding a still beating bloody heart in his hand and says “I always keep my promises” I woke right the hell up.
Pretty neat the the 90’s saw us getting this, Dracula, Wolf, and The Mummy.
'cause every girl's crazy 'bout a sharp featured man
The ultimate Cool English Teacher movie, the $45 million equivalent of jumping up on the desks and maniacally acting out all the parts for the class, desperate to make them understand the basic excitement of the work and terrified of boring them even for a second.
Ugh. This had so much potential, but the whole thing is just so overdone. Way too melodramatic, overacted beyond belief, and it carries a tone that's all over the place. Now I haven't seen any other adaptations of Mary Shelley's Frankenstein, but this takes many liberties when it comes to the source material. One new plot development involving Helena Bottom Carter's character was intriguing at first, but kind of lost steam immediately afterwards. This, along with many of the notable sequences from the novel, are extremely rushed here, while the non-essential family moments go on for what seems like eons. And most surprising is the fact that Robert De Niro is actually pretty bad as the Monster. Could have been much, much better.
I really wish Francis Ford Coppola had directed this instead of just signing on as the producer. I would have loved to have seen his take on this, especially after just finishing Dracula.
Mary Shelley’s Frankenstein is a masterpiece. But y’all aren’t ready for that conversation.
There isn’t a single cell in my body that can or will ever comprehend how mistreated and rejected this film is. Defined by its broad strokes of emotion and romance; the film feels almost like a play or a musical. Every performance is dramatic and over the top, and so are the lavish sets and the score. It’s not afraid to wear its heart on its sleeve, and I respect it so much for that. Like the novel, this is a tragic and heart-wrenching film... well, if you allow it to be. Robert Di Niro gives his all in what is perhaps the best version of the creature…
Overwrought, overlong, and played at the loudest of volumes, Kenneth Branagh's operatic take on "Mary Shelley's Frankenstein" is admirable in its sheer commitment to its blaring sensibilities. The film boils over with gothic passions and a lack of subtly, but it is, nonetheless, engaging.
Branagh's presentation of Shelley's classic work blends fully-rendered cinematic production design and theatrical style into the gothic tale. The novel's thematic mix of God-playing, life, death, and science are present, flowing from a script that follows the narrative path of that novel and never strays too far from it: Victor Frankenstein makes a monster out of the parts of dead men and pays the price. It is both science fiction and horror.
Branagh and company may…
spooktober 2k20
things I didn’t need to see: any of this film
things I really, really, really didn’t need to see: Robert De Niro’s 50 year old frankenstein penis
(yes I know he’s frankensteins monster but I didn’t want it to look like I was saying he had a monster penis)
"Mary Shelley's Frankenstein" is Kenneth Branagh's 1994 presentation of the timeless horror classic story. This film comes in a time period when there was a resurgence within film to make further applications that was faithful to the novel based source material rather than something more connected to "Universal Monster" ideology of things. "Bram Stoker's Dracula" (1992) from Francis Ford Coppola was probably the most successful example within these subcategorized films, but besides that entry and this one of ''Marry Shelley's Frankenstein", "Mary Reily" (1996) from Stephen Frears is another example of this, giving us a presentation of "Strange Case of Dr. Jekyll and Mr. Hyde". These approaches give a unique realism approach to the presented stories, as by the time…
