“Frankenstein” by Mary Shelley Satire Essay

Mary Shelley’s novel talks about a young scientist who causes his destruction. In the novel Frankenstein suffers from too many preconceived notions; countless film and television portrays have ruing anyone’s reading-Romantic drama and not horror. Frankenstein is a morality play, says Shelley, perhaps devised to horrify us into submission to God despite its many Romantic trappings (Sandra & Gubar 29). While most films have ripped apart her story’s delicate features, a few have attempted to portray a well-examined model of the original. For example, in 1974 television version, Frankenstein: The True Story, comes very close especially in the depiction of frozen wastes in which Frankenstein and Walton meet and also Frankenstein and his creature are destroyed as the creature becomes a bit of rogue and grow ugly (Sandra & Gubar 39).

The 1994 film version incorporates the author’s name: Mary Shelley’s Frankenstein, as if purporting to be the true story version. The film, produced by Kenneth Branagh also takes the of Victor and features Robert DeNiro in an uncharacteristically restrained depiction of a ‘thinking’ monster, compresses the novel in such a way that while we have the background information we are introduced in a family episodes so quickly, and scarcely understanding the story (Sandra & Gubar 34). While in sheer grotesquerie, it is genuinely Romantic with all primitive aspects in it, their magic, puffing steam, surging electricity, the spark of life and the raising of the just ‘born’ creature up to where it hangs ‘Christ’ (Sandra & Gubar 97). This post modern version serves up the creature’s hideously blatant sutures, demanding judgments.

Another example is I Was a Teenage Frankenstein (Sandra & Gubar 56) film that used the myth of Frankenstein as a vehicle for addressing the questions and fears of society in which an auto accident victims ‘repaired’ by an unbalanced doctor using parts of dead teenagers. And the result a creature that resembles deceased James Dean, dressed in T-shirt and slacks. This film offers the central theme which runs through all versions of the legend ‘Society `s fears’ of an uncontrollable unknown- Rebel Without a Cause (Sandra & Gubar 67). In this Frankenstein resembles just more than a mad scientist the creator of beautiful bodies. Frankenstein again seeks a “proper’ head to place on the body of the male creature, destined to be mated with the female he has already created hence his assistant murdering and removing the brain of a young man who had started earlier in the film that he had be a monk. After attachment the monster is not interested to it. This film crates the emergence of the plastic surgery industry as it seeks to correct the kind of nature did not bestow.

The known ‘original’ 1931 film, Frankenstein cited as the greatest horror tale of all time (Dirk) appears almost book like to us today but tell half story (Sandra & Gubar 89)”. The film provides all the clichés used today: the man scientist, the prejudicial society, the robotic creature amongst other. The film attributes its sources on the novel by Mrs. Percy B. Shelly (Sandra & Gubar 59). It the same film assistant’s mistaken theft of an abnormal, criminal brain rather than the ‘normal’ brain from Dr. Waldman’s laboratory, hence taken as being criminal ‘criminal brain’. Other film include the 1935, Bride of Frankenstein amongst other films.

Work cited
Sandra, Gilbert and Gubar, Susan. “Mary Shelley’s Monstrous Eve.” Frankenstein: or, the Modern Prometheus. New York, NY: Norton, 1996. Print.