classicsoncall
It's odd, but the entire time I spent watching this film, I never once got the impression that the relationship between the real James Whale (Ian McKellen) and Clayton Boone (Brendan Fraser) ever actually existed. Obviously there are fictional elements added to this story based on the book 'Father of Frankenstein', but I haven't read it so have no other basis on which to rest my comments other than it just didn't feel right. But if even half of the picture is based on real events, it's a compelling look into the declining days of the famed 'Frankenstein' director, even if that legacy is diminished by failing health and the onset of dementia. Sir Ian McKellen does justice to the role of Whale with an almost regal bearing that hearkens back to an earlier day when his stature as a director was more pronounced. I was actually a bit surprised with Fraser's performance here, even though I haven't seen him in a lot of films, most notably in the revived 'Mummy' series. And rounding out the principal cast, I thought Lynn Redgrave was sublimely hilarious as Whale's housekeeper Hanna. In terms of personality, she might have been the most complex character in the story, balancing her notions of sinful homosexuality with a pronounced level of loyalty toward the man she had worked for, for fifteen years.Adding to the ambiance of the Frankenstein theme, it was much appreciated that the film makers included scenes from the three original films dating back to the Thirties. Even though James Whale didn't direct "Son of Frankenstein", it would have been remiss if a clip from that movie was not included along with the original and "Bride of Frankenstein". I about gasped when Boris Karloff showed up at the Cukor party in the movie. Actor Jack Betts was such a dead ringer for Karloff that I thought it was really the man himself until realizing that he had died almost three decades earlier. Actress Rosalind Ayres made for a well cast Elsa Lanchester as well, even without the beehive painted hairdo
Kirpianuscus
first for each performance from the lead roles, especially for Brendan Fraser. than, for the force of story. not the least, for splendid job of Lynn Redgrave. a film who use biographic details for a subtle reflection about great universal themes. the flash backs, the dialogues, the details and the precise portrait of humanity are the great virtues of a magnificent trip in essence of fears, illusions, expectations , shadows of the past. to escape from yourself - that is the axis of a film who gives few interesting answers to the old problem of meaning of life. a film about importance of truth. and about role of a meeting. about different forms of confession and legacy. delicate and powerful. poetic in bitter form. and, so, convincing. a director, an old lady and a young gardener.crumbs of past. as bricks from a strange bridge between past and present.
Adam Peters
(57%) A really quite fine telling of the final chapter of one of horror's most important early film directors filled with a keen eye for detail and a powerful climax. Sir Ian McKellen is of course brilliant in a role that works perfectly, while Brendan Fraser is perhaps on his best form as an actual actor rather than an action star or a comic. It has to be said that this isn't for everyone as it is slow of pace, and some prior knowledge and appreciation of James Whale is needed to truly get the best out of what this has to offer. For the performances and the insight into a life in and around the early days of Hollywood this is a worthy character piece worth tracking down.
rajah524-3
"Why do you take care of him, Hanna?" "It is my -job-." Hanna -has- a job.Old Jimmy has his -freedom-."I -loved- making motion pictures." He loves his freedom. But he cannot -stand- it.Addicted to creativity, the narcissistic self-stimulator will not so easily come to terms with the loss of his capacities."You must please excuse me, but I am blind." "Alone, -bad-. Friend, -good-." "So what did you think of the movie?" -I- thought it was truthful.
AD
