Product: Gods and Monsters (1998)
Rating: 5.0
A sublime masterpiece
In the history of Hollywood, director James Whale will always be remembered most often as the man who crafted the 1931 version of "Frankenstein", with Boris Karloff, and its superior, legendary sequel, "The Bride of Frankenstein". Though he helmed many other projects, including the original version of "Showboat", "The Old Dark House", and the terrific "Invisible Man" (both "House" and "The Invisible Man" featured a young Gloria Stewart, who returned to the screen in 1997's "Titanic") inevitably Whale is linked for all time with the definative depiction of Mary Shelly's monster. In later years Whale would brush these films aside, preferring not to talk of them and generally disdaining them, but the link is permanent. Ultimately, Whale committed suicide after a series of strokes, drowning in his own swimming pool, leaving no note. It is a speculation on these last days of Whale's, in the sunset of his career in Hollywood, that director Bill Condon deftly explores in this screen adaption of Christopher Bram's "The Father of Frankenstein". Whale, as well as being an expert director in his day, was also openly gay, at a time when both in society and Hollywood, discretion was the order of the day. Powerfully portrayed here by the peerless Sir Ian McKellan (also an openly gay Englishman), McKellan brings subtle nuances and complex shadings to a performance that is nothing less than breathtaking, bittersweet, and ultimately deeply moving. The story concerns his growing platonic friendship with a hunky young yardman, ably played by Brendon Fraser, who with his massive body and square, sculpted head (aided in no small part by a flat-top haircut) resembles nothing insomuch as a living embodiment of the Monster itself. Hired to tend the grounds of Whale's home by his nervous housekeeper Hannah (a brilliant Lyne Redgrave - both she and McKellan were nominated for Academy Awards - and in my opinion both were robbed), the two befriend each other and develop a relationship that will affect both their lives in a most distinct way. Solid acting is delivered by all, and the appearance of two of Whale's key stars - Boris Karloff and Elsa Lanchester (through expert makeup techniques) midway through the film is a highlight (it is eerie how close these re-creations are). It is also in this sequence, set at the home of movie producer George Cukor - a closeted queen himself - that McKellan effortlessly and masterfully delivers one of the films bitchiest - and funniest - lines. Amazingly, though, it is Fraser - paired with some serious top notch costars that he admirably just keeps pace with - who delivers the film's most heart-touching and profoundly moving scene. It is the very last scene in the film, and the effect that it has cuts right to the soul, speaking volumes about the depths of compassion and humanity inherent in only the most genuine of friendships. For this scene, this film shares the distinction of being one of those very rare movies - one that brought me to tears. Not out of sadness, but out of admiration for its reaffirmation of the deep level of compassion that is inherent within the human heart, no matter who we are, gay or straight. Highly, highly recommended.