Get ready to have your mind blown—Jacob Elordi underwent a jaw-dropping 10-hour transformation involving 42 prosthetic pieces to bring Guillermo del Toro’s vision of Frankenstein to life. But here’s where it gets controversial: Is this level of detail in creature design a masterpiece of artistry or an over-the-top distraction from the story itself? Let’s dive in.
Londoners, mark your calendars! The immersive exhibit Frankenstein: Crafting a Tale Eternal is now open at The Old Selfridges until November 9—and it’s completely free. This isn’t just a display; it’s a deep dive into del Toro’s reimagining of Mary Shelley’s timeless novel. And this is the part most people miss: It’s not just about the monster; it’s about the philosophical, economic, and social questions Shelley dared to ask over 200 years ago.
Del Toro’s adaptation, set against the backdrop of the Crimean War, blends historical grit with modern sensibilities. Think operatic grandeur meets meticulous craftsmanship. The exhibit showcases the genius of costume designer Kate Hawley, production designer Tamara Deverell, and prosthetics artist Mike Hill, whose work elevates the story to new heights.
Here’s a bold statement: Del Toro’s Frankenstein isn’t just a film—it’s a visual symphony. Take Elizabeth’s (Mia Goth) wardrobe, for example. Her white dresses symbolize purity, while her blue gown, inspired by X-rays, ties her to the scientific themes of the story. Hawley explains, ‘It’s not eye candy, it’s eye protein,’ emphasizing the depth behind every design choice.
But let’s talk about The Creature. Elordi’s transformation wasn’t just about slapping on prosthetics. Hill reveals, ‘We wanted to put the inside of a human body on the outside,’ showcasing veins and imperfections that tell the story of Victor Frankenstein’s flawed creation. Controversial question: Does this level of realism enhance the emotional impact, or does it risk overshadowing the character’s humanity?
The exhibit also highlights the staggering effort behind the scenes. The ship The Horisont, for instance, took six months and 3,178 labor days to build, complete with historically accurate details. Deverell even consulted model ship builder Matthew Betts to ensure every plank and skylight was period-perfect. Thought-provoking, right? How much is too much when it comes to authenticity in filmmaking?
Del Toro’s use of circular motifs—from Medusa to mirrors—adds another layer of symbolism. ‘The movie is a circle,’ he says, reflecting Victor’s journey from saint-like narrator to something far more sinister. Composer Alexandre Desplat complements this with a score centered around the violin, giving The Creature a fragile, haunting melody that tugs at the heartstrings.
Here’s a counterpoint to consider: While the exhibit celebrates the film’s artistry, some might argue that del Toro’s focus on aesthetics risks losing Shelley’s original message. What do you think? Is this a faithful adaptation or a dazzling distraction?
Before you decide, check out the exhibit’s behind-the-scenes footage, including Desplat and del Toro discussing the scoring process. And don’t miss the rare books on display, including an 1818 edition of Shelley’s novel—a reminder of the story’s enduring power.
By the numbers, this production is staggering: 119 sets, 3,178 labor days for the ship, and 54 prosthetic pieces for The Creature. But the real question is: Does all this effort pay off? We want to hear from you: Is del Toro’s Frankenstein a masterpiece or a missed opportunity? Share your thoughts in the comments!
Tickets are free and available on the Selfridges website. Don’t miss your chance to step into this eerie, thought-provoking world.
