The Bride: A Spooky and Stylistic Crime Story

Sparking New Life

Lightning strikes an abandoned building as the lights flicker and mysterious machinery functions. That can only mean one thing: one of the most beloved movie monsters of all time has returned to the big screen, in a way audiences have never seen before! The Bride is the latest adaptation of The Bride of Frankenstein, itself based on Mary Shelley’s classic novel, Frankenstein. When that title is mentioned, most people think of the 1935 Universal monster movie of the same name, which is often cited among one of the greatest sequels ever made. However, aside from some minor roles in projects like Hotel Transylvania, the Bride hasn’t received as much contemporary traction as her undead spouse.

Now, Warner Bros aims to change that with a unique adaptation of the source material which not only changes its core setting, but also has more of a gothic flair compared to previous takes on Frankenstein. Added in with a talented cast and crew behind the scenes, all of the stars were aligning for this to be one of the year’s best horror films. Unfortunately, the movie has hit a few rough patches in the days leading up to its release, having earned a polarized reception from critics as it tracks to make around $15 million in its opening weekend – a weak start considering its $80 million budget. But despite the warning signs, I still had a lot of hope for this picture.

The concept of Frankenstein is one of the most creative and iconic in the entire horror genre, leading to a multitude of adaptations with a number of unique styles. But something about this film stood out to me: the way it structured its plot. Rather than follow its predecessors by telling a horror story full of tragedy, this film promised to lean more into the crime genre, giving it a concept similar to stories like Bonnie & Clyde along with a much more hyperactive sense of energy. All of these factors convinced me that this could be one of the most unique adaptations of Frankenstein the genre has ever seen, allowing it to climb the ranks of my most anticipated films of this entire year.

Enthusiastically, I headed to Cinépolis Luxury Cinemas Mansfield on Friday, March 6, and secured a ticket to this dance of the dead. As the credits rolled, I was left with one question: did this movie give one of cinema’s most iconic monsters an unforgettable glow, or did the idea short circuit when it was put to the screen?

High Voltage

Set in 1930s Chicago, The Bride centers on a woman named Ida, who is murdered one night in cold blood. Her body is recovered by Frankenstein’s monster, also known as Frank, who enlists the help of Dr. Cornelia Euphronious – a mad scientist – to create him a bride. The process brings Ida back to life, but with a more rambunctious personality and a limited memory, leading her to go on the run with Frank as they are pursued by detectives and she begins to embrace her identity as the Bride of Frankenstein.

Directed by Maggie Gyllenhaal – who previously helmed the Academy Award-nominated drama, The Lost Daughter – the film features an all-star cast including Jessie Buckley, Christian Bale, Peter Sarsgaard, Annette Bening, Jake Gyllenhaal, and Penélope Cruz among others.

In general, I had a satisfactory time with this movie. Though it is far from perfect, it still builds enough of its own identity to not only stand out from other Frankenstein adaptations, but creatively tell a familiar story in its own unique style. The film takes many creative liberties with its plot, changing the way certain plot points advance compared to the original Bride of Frankenstein, but still keeping the source material’s gothic nature at its core. 

The film’s story particularly shines in developing the bond between Ida and Frank, a relationship which sees quite a roller coaster ride throughout the runtime. The two share close feelings and care deeply for one another, but they also struggle to fit in with society due to their outgoing personalities and violent tendencies. 

The movie balances out classic tropes of the romance and horror genres to develop their bond, while having a general undertone of a crime story as the two go on the run across the country. It results in a very interesting take on this classic monster story, especially since the two primary characters share more screentime and sympathy with each other compared to the original film. 

Unfortunately, the movie’s biggest weaknesses also come from the writing, including how it showcases its tone. As implied by the trailers, this is a very stylistic movie with a fairly high level of energy. Though this is refreshing and unique compared to other adaptations, it also sets the movie up for a massive challenge: finding consistency in what it wants to do. 

The film frequently jumps between different scenes which have very strange tones to them such as tense confrontations, darkly comedic interactions, and romantic interludes between Ida and Frank. When combined together, it just makes the movie feel confused, as it cannot figure out what mood it wants to fully commit to, whether it be frightening, dramatic, or hyperactive. The stylized approach to the story is something I appreciated, but it falls a bit short due to the movie’s inability to find a primary tone and stick to it. 

Also not helping the matter is that the story itself is muddled in execution, as it tries to implement various unique plot points which do nothing to advance it. Along with the development between Ida and Frank, the movie makes use of a number of subplots. These include one surrounding two detectives as they try to hunt down the couple, a menacing mob boss sending his henchmen after them, an interlude with supernatural elements, and a revolution which occurs about midway through. 

There is a lot going in this movie, when there honestly did not need to be, and the bond between the monsters – and to an extent, the detective subplot – would have been more than enough to satisfy the runtime. Especially considering that many of these subplots are just there for filler’s sake and do nothing to develop the story or characters, particularly the supernatural aspects and the one involving the mobsters, which could easily have been cut out of the final feature. 

I will give the film credit for at least trying something different, but in terms of structure, it fails at maintaining a steady stream, resulting in an inconsistently-told plot.

A Cursed Couple

What elevates this film to its highest levels are the performances, all of which are committed and effective. But without a doubt, the two strongest of the lot stand front and center on the poster: Buckley and Bale as Ida and Frank, respectively. These two are so vibrant in their roles, and provide a unique approach to the way their characters have been portrayed in the past.

Namely, Buckley does a phenomenal job at portraying Ida, the titular Bride, a character who has not seen much mainstream screentime compared to other classic movie monsters. In her most well-known portrayal – the original Bride of Frankenstein – she has very little dialogue, and comes off more terrified and mysterious than frightening. 

In this movie, Buckley gives the character a distinct flair, giving her an exuberant personality with a layer of curiosity, as she seeks knowledge about her past. Her strongest moments come when she connects with Frank, letting her wild side shine as she taunts civilians and begins embracing her new identity, resulting in a highly effective portrayal of the classic character.

Speaking of Frank, he played in an expert fashion by Bale in another unique approach to the classic monster. In this movie, the creature maintains key elements from his previous adaptations but evolves throughout the runtime, beginning much more personally secluded and quiet before acting more outgoing when he begins to bond with Ida. All the while, he has a number of violent tendencies – primarily when he is provoked – which establish him as a threat not to be messed with. Bale combines a variety of character traits, both subtle and exaggerated, with an effective physicality, allowing him to serve as one of the film’s standout characters through his faithful-but-distinct portrayal.

Combined, the two share a fantastic dynamic, especially as their two personalities essentially become one. As Ida begins to accept her new identity, Frank becomes more outlandish, leading the two down a path of chaos which crescendoes throughout the story. Despite their deep care and tenderness from one another, the film never forgets their roots as monstrous individuals – figuratively and literally – leading to an intense viewing experience as the two go on the run across the country and wreak havoc among every place they visit.

This movie is built on the relationship between Ida and Frank, which it commits to effectively. However, this comes at the cost of giving its side characters very little in terms of personality. The film mainly treats its supporting ensemble as nothing more than the character type they represent. For example, the detectives tasked with hunting down the couple, Jake Wiles and Myrna Malloy, have very little to them other than acting as an opposing force to the monsters, even with a plot point involving Wiles’s past. This is the way most of the ensemble is sadly treated, being given nothing to work with other than a basic archetype – ranging from a mad scientist to a threatening mob boss.

I do not blame the performers for this approach, as they are all committed to providing a strong energy to their characters – including Sarsgaard and Cruz as the two determined detectives. But in terms of development, they get very little to work with, taking one of the most promising casts in a modern monster movie and wasting them on unremarkable characters. 

Deadly Dances

As I previously mentioned, this movie builds a unique identity for itself through its story, which is much more contemporary compared to other versions of Frankenstein. This can be highlighted further in the movie’s visual style, which combines the classic gothic nature of the original story with a grander scale and modern locations. The result is one of the most visually unique versions of the source material I’ve seen, as it modernizes the brand in an effectively appropriate fashion.

The movie explores a wide number of locations throughout its runtime, ranging from Chicago to New York, a very refreshing approach compared to the lone village seen in most other adaptations. The film captures the aesthetic of these areas flawlessly, giving it a 1930s style complete with muted colors and classic designs in its automobiles and skyscrapers. They are further brought to life by gorgeous cinematography which helps capture the full scope of these locations, primarily in scenes where the characters are outdoors or in a crowded location – like a party or a movie theater.

This era is further illustrated by its effective costume design, which meshes perfectly with the sweeping locations and has additional benefits for the protagonists. The majority of the film’s outfits consist of dark colors, including suits and hats. But it does something different for Ida and Frank to help them further stick out from the crowd. Namely, Ida sports a bright red dress for the entire time she is onscreen, which almost feels symbolic of her personality – in both her love of Frank and violent tendencies – efficiently cementing her as an outlier in her environment. 

Meanwhile, Frank’s costumes are more representative of his shift in personality. When he is first introduced, he is very self-conscious, sporting a mostly black outfit including a hat and a scarf, which he uses to cover her face. But once he begins to bond with Ida, he ditches his cover-ups and embraces who he truly is, symbolizing his identity’s evolution from when he was introduced.

To top it all off, the monsters are distinguishable through their incredible makeup which not only helps them to stand out, but is both contemporary and faithful to the original story. Whether it be Ida’s eccentric blond hair and black lipstick or Frank’s scars which are painted all over his body, the film establishes the monstrous nature of the two through their appearances, in addition to their personalities. It gives them a unique design which perfectly combines a gothic undertone with a modern setting, resulting in a visually stunning array of results which keep the movie engaging and worthwhile.

Rightful Reanimation

Overall, though it suffers from forgettable side characters, a muddled story structure, and an inconsistent tone, The Bride is still highly enjoyable through its fantastic performances, incredible makeup and costumes, unique visual style, and well-developed protagonist dynamics. Though it does fall shorter than other versions of the Frankenstein mythos, this film still provides an effective experience through its clever ideas and high energy.

If you’re a fan of monster movies, the crime genre, or the Frankenstein brand in general, I’d recommend giving this movie a watch. The Bride is currently playing in theaters nationwide, including at the local Cinépolis Luxury Cinemas Mansfield. If you want to see a classic horror story told in a more contemporary fashion, look no further than this movie. 

It may not be without its faults, but this film still holds enough of its own merits to provide an enjoyable ceremony worthy of walking down the aisle to see.

My Rating