Maggie Gyllenhaal’s new take on Bride of Frankenstein has a dud script and empty girlboss messaging
In a bold attempt to reimagine the classic horror tale, Maggie Gyllenhaal’s remake of Bride of Frankenstein presents a feminist perspective that ultimately falters due to a lackluster script and muddled messaging, reports BritPanorama.
The original 1935 film, adapted from Mary Shelley’s 1818 novel, spotlighted the lonely male monster, relegating the Bride to a silent role at the film’s conclusion. This shift to address the Bride’s perspective seems vital, yet the execution in The Bride! transforms the narrative into an unclear mash-up of genres, mixing mobster themes with horror and romance, while carrying an overly pointed feminist agenda.
Set in the 1930s, the story shifts to Frankenstein’s monster (played by Christian Bale), who approaches mad scientist Dr. Euphronius (Annette Bening) for a wife. After a remarkably reluctant agreement, their quest leads them to resurrect Ida (Jessie Buckley), a mobster’s escort, whose past is woven into the plot through bizarre moments of literary reference to Mary Shelley herself.
Ida’s transformation into the Bride, influenced by the spirit of Shelley, is marked by forced dialogue and confusion. While Buckley’s performance carries an undeniable energy, her character’s integration with the narrative raises more questions than it answers. The chemistry between her and Bale is notable, yet frequent gaslighting and contrived situations detract from the overall coherence of the story.
Bale provides a grounded portrayal that resonates with modern viewers, emphasizing the emotional struggle rather than the horror of a creator’s folly. However, the film’s ambitious narrative is complicated by an underlying message that becomes increasingly muddled, especially as it attempts to unite themes of female empowerment and historical repression.
Despite moments of humour and warmth, the film suffers from a script that fails to balance its numerous threads. Gyllenhaal’s high budget reportedly approaching $100 million seems to have resulted in a disjointed narrative where crucial backstories of silenced women feel forced into the central discourse without real clarity.
While Gyllenhaal demonstrated her capability to explore feminist themes compellingly in her directorial debut, The Lost Daughter, The Bride! veers into superficial portrayals of girlboss empowerment. The narrative lacks the depth necessary to engage meaningfully with its themes, resulting in a loss of impact often felt in contemporary cinematic attempts at feminist storytelling.
The film is scheduled for release in cinemas on 6 March.
