“The Bride of Frankenstein” gets a punk remake with “The Bride”, Maggie Gyllenhaal’s iteration of what happens if Victor Frankenstein’s creature (Christian Bale) starts to get lonely and aspires for a female lover.
He seeks the help of a mad scientist (Annette Bening) and randomly digs the grave with the corpse played by Jessie Buckley, resurrects her using science, and embarks on a “Bonnie and Clyde”-like spree that makes them the most wanted among police and mob groups.
There is so much to admire about “The Bride”, particularly with Jessie Buckley’s performance. Coming off a heavily emotional turn in “Hamnet”, the future Oscar winner (I’m calling it) delivered lengthy and expressive monologues here, using her theatre background to full advantage.
Christian Bale did well as the creature, mostly referred to as “Frank” and “Frankie”. But despite Bale’s calibre, this is easily Buckley’s movie to shine. I think she’s the only reason to see this.
“The Bride” delivered some big creative swings that look good on paper, but landed poorly on-screen. For one, a major plotline involving detectives that connects to the Bride’s past came off as inessential because nothing is interesting about it. It’s fair to say that the film made a good case of being a “Bonnie and Clyde” crime story about these two eccentric lovers who loved watching movies in a cinema, and nothing more. It doesn’t help that “The Bride” decided to expand on the stakes by having a mob group be involved and receive a hefty spotlight.
I can’t help but be reminded of a certain “Joker” movie from two years ago while watching “The Bride”. Gyllenhaal’s movie is easily better than that sequel with Joaquin Phoenix and Lady Gaga, but both films have lost track of showing an emotionally charged love story, rather than any other.
“The Bride” is now showing in cinemas.
Featured images from Warner Bros. Pictures.
Comments
Post a Comment