From the opening credits to the (mostly) predictable climax, Bill Condon's film is a technical masterpiece and an excellent bit of arthouse fodder to boot.
The title, which comes from James Whale's classic film Bride Of Frankenstein, refers to the gods and monsters living in our lives and vicariously in our close associates' lives.
Condon has done a remarkable job editing in flashbacks, and the sketchy oblique, often contrasted shots pay great homage to Whale's early Universal pictures.
The story is a simple one: James Whale (Ian MacKellan), famed director, has had a stroke and is slowly dying. He is a lonely man in need of companionship and inner peace. He tries to find this solace in Clay Boone (Brendan Fraser, in a rare serious role), his yardman. The blossoming relationship between the two is the plot focus of the film.
Carter Burwell's score is wonderful as always, and Lynn Redgrave's role as Whale's housemaid is superbly put on. A great movie for any fans of the late Whale, or anyone looking for a true human drama.
The title, which comes from James Whale's classic film Bride Of Frankenstein, refers to the gods and monsters living in our lives and vicariously in our close associates' lives.
Condon has done a remarkable job editing in flashbacks, and the sketchy oblique, often contrasted shots pay great homage to Whale's early Universal pictures.
The story is a simple one: James Whale (Ian MacKellan), famed director, has had a stroke and is slowly dying. He is a lonely man in need of companionship and inner peace. He tries to find this solace in Clay Boone (Brendan Fraser, in a rare serious role), his yardman. The blossoming relationship between the two is the plot focus of the film.
Carter Burwell's score is wonderful as always, and Lynn Redgrave's role as Whale's housemaid is superbly put on. A great movie for any fans of the late Whale, or anyone looking for a true human drama.