Who does not know the already mythical character Frankenstein and the story around the “birth” of his creature? In this miniseries composed of two chapters and released in 2004, through Hallmark Channel, we are offered the opportunity to rediscover this exciting story that has managed to transcend as one of the most important horror literature and that has become in an inexhaustible source of inspiration in productions for the small and big screen.
The plot presented to us in this fiction offers us a perspective that remains faithful to the original story and immerses us in the conflicts – both internal and external – that Dr. Víctor Frankenstein will have to face after creating a creature from different parts of the bodies of deceased people, and find themselves before the discovery that this being is capable of experiencing real emotions that will rival the interests of the creator himself.
The director is Kevin Connor, who has an extensive career focused mainly on feature films and serial productions for the small screen. Among his works it is worth making reference to fictions Hart to Hart, Remington Steele or the sequel to North and south.
Among the cast of interpreters, the names of Luke Gross, Alec Newman, Nicole Lewis, Julie Delpy, Monika Hilmerová, Donald Sutherland and William Hurt stand out.
The story of this peculiar and talented scientist, who manages to give life to a being formed by the parts of different corpses, has its origin in the work of the British novelist and playwright Mary Shelley, who gave birth to this creature in the year 1818 through his book Frankenstein or the modern Prometheus, a story that managed to elevate it and make it a benchmark within Gothic-style literature even centuries later.
The title of the original novel refers to the figure of Prometheus, described by Greek mythology as a titan who dared to defy the wrath of the gods by blurring with his actions the line that separated these superior beings from mere mortals. And it is that in the work of Mary Shelley this idea is retaken when Dr. Frankenstein surpasses those limits and assigns himself a task reserved only for divine entities: that of creating life.
The monster designed by Victor Frankenstein has become a common character in the audiovisual scene, adopting multiple and varied forms depending on the eyes of the filmmaker on duty. Thus, we have been able to see him in productions for the big screen such as James Whale’s classics in the 30s or the one that Kenneth Branagh made in the late 90s, as well as television fictions such as The Frankenstein Chronicles.
The miniseries was well received by the public and critics, who saw in it a faithful reflection of the story of Mary Shelley. And it is that in this short production of two chapters the dramatic character of the story is emphasized, rather than treating it as the horror tale that has always been sold to us.
It is also necessary to refer to the impeccable characterization work of the characters, a work coordinated by Beatrix Dollingerova and which was recognized with the Emmy award for Best Make-up (Non-Prosthetic) in a Miniseries.
If you are a fan of the literary classics of the genre, this miniseries establishes an interesting moral debate around the limits of creation and how it is society that ends up molding us and turning us into the monsters that it later condemns.