"Frankenstein," derived from Mary Shelley's novel of the same name, presents one of the most iconic horror figures in cinematic history: a scientific monster created by a scientist. This stitched-together horror, despite being feared, detested, and rejected by its "bride," another creation in "Bride of Frankenstein," ultimately meets a tragic end with her. Like the protagonists, they are both outcasts, yearning for love but unable to receive it.
Can monsters ever find love?
Lisa, having recently moved to a new place, witnesses her mother's tragic death, becoming withdrawn and peculiar, with a father who neglects household matters, a stepmother who is an emotional nurse with opposing views about Lisa, and a stepsister, Taffy, who genuinely cares for her.
Taffy's character is intriguing and contradictory:
First, she's not the typical "mean girl." As a cheerful, lovely, and harmless cheerleader, she sincerely treats Lisa, defends her, and tries to help her fit in. Despite her straightforwardness, her intentions are not malicious. She takes things seriously, following her mother's teaching of "effort equals reward." Second, outwardly, she fits the "mean girl" stereotype. Growing up as the "backflip cheerleader," she knows her limitations and understands the intentions of boys approaching her, yet desires acceptance for her uniqueness.
These two aspects contribute to the ambiguity of her betrayal of Lisa—seemingly unethical yet rational, as it appears to be just an innocent teenage girl falling for a "bad boy."
Michael, seemingly existing to provide Lisa with psychological and physical comfort, needs to be more pivotal. Lisa's acceptance of her uniqueness and belongingness renders her independent emotionally, leaving only physical needs.
The actual third party is murdered, ending the love triangle, and with Taffy's mother killed because of Lisa, the audience and Lisa inadvertently conspire to conceal the murders, overshadowing any resentment towards Taffy's "betrayal." Naturally, Taffy remains unharmed. Thus, Lisa, wielding the axe, accepts Taffy's love. Only when monsters love themselves can they receive love from others.
Are monsters perpetrators or victims?
Janet's ears are not for listening but for indoctrination. Hence, they're cut off. Doug's hands, not for aiding discomforted classmates but for harassment, are severed. Michael's male genitalia, not for everyday physiological purposes but for intruding into desired relationships, are chopped off.
For Lisa and the creature, these people are outcasts, their actions monstrous, thus deserving their fate—Lisa and the creature are justified executioners of their frustrations. Conversely, for these people, Lisa and the creature are monsters, outcasts in a society that only accepts the norm, rejecting the alien. Lisa and the creature, wielding axes and committing murder, violate societal norms, making their victims the deserved ones. So, which side are the monsters on? Or can anyone, any thought, or any action be a monster?
The missing "monster" traces
Apart from Lisa's accounts, Michael appears only four times: at the party, borrowing notes, during the test, and in his bed. Each interaction significantly influences Lisa, the creature, and Taffy, even altering the audience's judgment.
His first appearance catalyzes the creature's transformation after hearing Lisa's "final resting place" wish. The second, Taffy's interruption, prompts Michael's quote from Oscar Wilde, signifying her change.
The most significant reversal occurs during the third encounter, a seemingly intimate exchange between Michael and Lisa during a test, where the audience leans towards interpreting Lisa's love note as intended for Michael until Doug appears, revealing Lisa's actual target. It marks Lisa's first deliberate act of violence.
The fourth instance encompasses everyone's transformation—Taffy's "betrayal," Lisa's anger, and the creature's revelation—alongside Michael's shift from living to lifeless. However, Michael's character remains ambiguous, leaving his off-screen persona unknown.
Though Michael flirtatiously interacts with Lisa, he never explicitly expresses romantic interest. Thus, their relationship lacks romantic significance. Michael's connection with Taffy is judged morally, lacking complete alignment with the typical portrayal of a "bad boy"—a playboy with a history, popularity, and athleticism.
Taffy stitches the creature's ears, hands, and male genitalia, symbolizing female empowerment and showcasing an alternative childbirth method, a refreshing yet logical approach.
Beyond the narrative, elements like "A Trip to the Moon" poster, expressionist fantasies, neo-realist daily life, and echoes of the Vietnam War add layers of intrigue akin to discovering Easter eggs. Familiar faces resurface, notably Lisa's ruthless demeanor reminiscent of "Freaky."
"Sorry, darling, I'm going to kill you."
This line from Fritz Lang's 1931 film "M" depicts a society birthing a deranged killer under extreme conditions—a pathological criminal driven by uncontrollable instincts. Set against a backdrop of pre-war economic crises, everyone suffers at the bottom.
Today, in our rapidly evolving world, battling mental and existential crises, everyone is an outcast. So, where does the path for us, the outcasts, lie? Or are we all ultimately resigned to saying, "Sorry, darling, I'm going to kill you"?
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