Guillermo del Toro‘s long-anticipated take on “Frankenstein” marks a major departure from Mary Shelley’s original novel, infusing the story with themes of love, war, and human nature. By reimagining elements as fundamental as the setting, characters, and even the Creature’s motivation, del Toro implements Guillermo del Toro Frankenstein changes that leave a profound impact on Shelley’s classic narrative.
The Setting Moves to the Crimean War Era
Mary Shelley’s original tale unfolded in the late 1700s, but del Toro relocates the story to the time of the Crimean War in the mid-1800s. This change introduces a backdrop of rampant wartime casualties, providing Victor Frankenstein a grim abundance of bodies for his experiments. Unlike in the novel, where grave robbers supplied the needed cadavers, here the ongoing war becomes a direct source. The new setting allows del Toro to echo broader themes from his earlier works like “The Devil’s Backbone” and “Pan’s Labyrinth,” exploring the destructive patterns of conflict and the obsession humanity has with both creation and annihilation. Through Victor’s work, the tragedy of war and scientific ambition intertwine, serving as a mirror for society’s cyclical violence.
Henrich Harlander: A New Benefactor Character
While Victor Frankenstein was driven by personal ambition in Shelley’s narrative, del Toro brings in Henrich Harlander as a pivotal new figure. Harlander notices Victor’s enthusiasm during a lecture at the Royal College of Surgeons of Edinburgh and becomes his patron. Unlike any character in the source novel, Harlander is a powerful arms dealer dying of syphilis, who seeks immortality by planning to have his brain transplanted into the Creature after death. His character evokes modern billionaires and war profiteers, offering a sharp critique of capitalist exploitation, especially those who benefit from conflict and innovation at the expense of humanity, providing a contemporary lens on age-old moral dilemmas.
Transformations Within the Frankenstein Family and Victor’s Early Life
In Shelley’s book, Victor’s father, Alphonse Frankenstein, is a gentle, responsible patriarch who leaves politics to prioritize family, while Victor’s mother, Caroline, dies of scarlet fever. The children include William, who is a young child, and an additional sibling named Ernest, absent from the screen adaptation. Del Toro substitutes Alphonse for Leopold Frankenstein, turning him from a kind father into an accomplished but callous surgeon. Leopold is depicted as abusive and harsh, instilling in Victor the belief that only ambition and dominance matter, laying the groundwork for Victor’s tragic trajectory as both scientist and parent. This familial discord influences not only Victor’s flawed relationship with the Creature but also his own outlook on scientific ethics and accountability.
A Stronger, More Expressive Elizabeth
Elizabeth’s reimagining is one of the most striking Guillermo del Toro Frankenstein changes. In del Toro’s adaptation, Elizabeth is Henrich Harlander’s niece and William’s fiancée, central to a subtle love triangle among the Frankenstein brothers. Unlike in Shelley’s work, where Elizabeth is a passive orphan adopted by the Frankensteins and destined to marry Victor, del Toro endows the character with intellect, agency, and a fiercely independent spirit. Inspired by traits of Mary Shelley herself, this Elizabeth speaks her mind and grows to resent Victor. Her unique compassion for the Creature further distinguishes her from the novel, where she remains steadfastly in love with Victor, and her last name in the film shifts from Lavenza, her book name, to Harlander.
The Disappearance of Henry Clerval and Justine Moritz
Certain supporting characters present in the novel are notably missing from del Toro’s retelling. Henry Clerval, Victor’s childhood friend and emotional balance, and Justine Moritz, the wrongly accused housekeeper, are absent. In Shelley’s version, Henry acts as Victor’s confidant and represents humanity’s warm, creative side. His tragic murder by the Creature is a major blow to Victor. Justine, taken in by the family and condemned for William’s death, embodies themes of justice lost and moral failure, spurring guilt in Victor as he stays silent to protect himself. Their exclusions sharpen the story’s focus on Victor’s isolation and the cycle of violence that severe personal losses trigger.
The Old Blind Man’s Reworked Role
Another significant adjustment concerns the old blind man, a familiar element in most adaptations. In the original novel, this character is De Lacey, the patriarch of a French peasant family whom the Creature quietly observes and learns from as the family instructs Safie, their Turkish daughter-in-law. In del Toro’s rendition, the man is left unnamed and takes on a more nurturing, direct relationship with the Creature, even teaching him to speak—something not present in Shelley’s version. The moment of bonding is interrupted tragically, unlike the book, where the family’s horror at the Creature’s appearance leads to their abrupt departure but not the old man’s death. Del Toro’s depiction injects new poignancy into the Creature’s longing for connection and loss.
No Attempt to Create a Female Companion
In the original work, after the Creature kills William, he demands a mate from Victor to stave off his despair. Victor reluctantly agrees, but ultimately destroys the would-be Bride before bringing her to life out of fear of further tragic consequences. The furious Creature retaliates with violence, even killing Elizabeth. Del Toro modifies this arc significantly. While the Creature pleads for companionship, Victor refuses outright, never beginning a second creation. Del Toro instead explores Elizabeth briefly fulfilling the Bride-like role before her own demise, thus shifting the narrative’s emotional core and removing the subplot concerning the potential consequences of creating a companion.
The Creature as a Beacon of Mercy and Empathy
Shelley’s Creature, though pitiable, turns bitter and vengeful after repeated rejection, inspired partly by his reading of Milton’s “Paradise Lost” and viewing himself as a castaway like Satan. Del Toro’s Creature, however, transforms into a figure echoing Christ: marked by suffering and ultimately choosing forgiveness over hatred. This reimagining surfaces through deliberate visual cues—a cross-shaped operating table and symbolism referencing the Sacred Heart, along with direct narrative moments such as Elizabeth recognizing the Creature’s humanity. In the film, the Creature only causes death unintentionally or to defend himself, and makes the conscious choice to forgive those who wronged him, highlighting themes of resilience and grace under suffering.
A Reconciliatory, Hopeful Ending
The resolution of del Toro’s film diverges sharply from the bleak closure of Shelley’s story. In the book, Victor dies imbued with a need for revenge, asking Captain Robert Walton to continue his quest against the Creature. The Creature, in turn, is left devastated, mournful, and contemplating self-destruction. Del Toro, however, orchestrates a powerful confrontation and reconciliation between Victor and the Creature aboard a ship—something absent from the novel—allowing for a moment of genuine remorse and forgiveness. Victor, showing compassion at last, addresses the Creature as “son” in his dying moments and advises him to keep living despite his pain. This meeting ends with the Creature seeking out the sunlight, a symbol of the new possibilities his father once denied him.
Key Cast Members Highlight the Story’s Changes
Oscar Isaac portrays Dr. Victor Frankenstein in the adaptation, bringing gravitas and complexity to a character redefined by trauma and ambition. Jacob Elordi stars as the Monster, embodying the nuanced transformation into a being marked by empathy and suffering. These choices in casting help communicate the profound departures and enhancements that Guillermo del Toro introduces to the familiar tale, offering a “Frankenstein” story shaped by both timeless emotion and timely relevance.
By blending literary tradition with imaginative innovation, Guillermo del Toro’s adaptation reconfigures the gothic classic for a new era, amplifying its emotional power and prompting reflection on war, family, and forgiveness. These substantial Guillermo del Toro Frankenstein changes ensure that this vision of the legendary Creature remains both deeply personal and universally resonant.
