Sex and Sexuality in the FrankenFilm Series by Andrew Medvecz

     Among the many themes and motifs explored by Mary Shelley in Frankenstein, one of the most prominent examines sex and the sexuality of the characters.  Mary Shelley's examination of this theme has been interpreted many different ways.  In the films that were viewed for the FrankenFilm series, the themes of sex and sexuality were addressed in different ways.  The four films, Frankenstein (1931), (1935), Bride of Frankenstein (1935), Young Frankenstein (1974), and Mary Shelley's Frankenstein (1994), each offers a unique interpretation and twist to the theme that was embodied in Shelley's gothic novel.    

     The 1931 film Frankenstein has traditionally been viewed as one of the films best representing the events of the novel.  In it, viewers can examine the seemingly incestuous relationship between Henry Frankenstein and Elizabeth.  Like the novel, Henry (Victor in the novel) and Elizabeth are cousins were brought up in the same household.  Henry's father encouraged a brother-sister relationship between Henry and Elizabeth from the day that they were introduced.  However, once the two had grown older, they became fond of each other in a passionate way.  A significant portion of the film took place during the days leading up to their incestuous marriage.  The incestuous relationship was never consummated as the monster wreaked havoc on the household before it could take place.  

     Bride of Frankenstein, made in 1935, is a continuation of the novel and the 1931 film Frankenstein.  The monster demands that Dr. Frankenstein create a bride for him.  Frankenstein is appalled at the idea because creating a female version would allow the monster to reproduce and populate the world with terrible fiends that kill children and destroy towns.  However, the monster insists that Frankenstein go through with the plan in order for him to continue living.  Frankenstein is further motivated by another doctor who has created life himself.  Together, the two create the monster's bride, as ugly and hideous as the monster himself.  The monster reasoned that having a "friend" for a bride would reduce his anger at the world.  She would understand his situation because she would be in the same.  However, after creating the bride, Frankenstein realizes that she is not going to love his monster.  She is reviled by the sight of the monster.  The monster attempts to make a sexual move at his bride, but she rejects him again.  The monster, destroyed because his would-be companion in life rejected him, becomes enraged.  IN order to save the village from the monster's rage due to sexual rejection, Frankenstein burns the lab, destroying both creatures.

     Young Frankenstein addressed the sexuality of the characters in an entirely different way than the previous two films.  The film is full of sexual references, especially between Dr. Frederick Frankenstein and his attractive lab assistant, Inga.  Frederick flirts with Inga as he creates the monster.  While this flirtation may underscore the separation from Elizabeth, the sexual theme is still maintained in an abnormal way when Frederick and inga share a moment of intimacy on the table used to bring the monster alive.  The relationship between Dr. Frankenstein and the monster is fully expressed at the end of the film when the monster and Dr. Frankenstein switch love interests.  The monster marries Dr. Frankenstein's former fiance and Dr. Frankenstein marries his lab assistant.  This odd twist to the sexual theme further contributes to the puzzling and incestuous relationship that Shelley creates between Victor and Elizabeth in the novel. 

     The final film, Mary Shelley's Frankenstein, embodied the sexual themes that were expressed in the book.  The relationship between Victor and Elizabeth is clearly incestuous.  While they may not be brother and sister, they undoubtedly refer to each other with these titles.  Just before Victor leaves for the university, he and Elizabeth express their love for each other in the garden.  Before the passionate moment, they refer to each other as brother and sister once again.  While they agree to delay the consummation of their relationship until their wedding, they frequently write each other suggestive notes that only furthers the extent of the incest.  On their wedding night, before their consummation, they once again refer to each other as brother, sister, and lover. 

     The other element of sexuality that is seen in the final film involved the monster.  The monster's demand of Frankenstein was a bride.  After ardently refusing, Frankenstein agrees to create a bride for his monster.  There is an interesting parallel when Frankenstein creates the bride.  At the end of the film, the monster refers to Victor Frankenstein as his father.  In effect, Victor is creating another incestuous relationship by also being the father of the monster's bride.  The monster and his bride, sharing the same father, would have the same brother-sister-lover relationship that Victor and Elizabeth possessed.

     It is interesting that the monster chose Justine to be the body of his bride.  He must have seen the way that she was misunderstood and abused as a parallel to his own life, and he hoped that they could share the same experiences.  He insisted that Justine's body be used for his bride, even when Victor questioned if it was absolutely necessary for them to use her body.  The monster knew that she had been unjustly hanged because of his actions, and he wanted to live his life with someone who would know the same injustice that he experienced.

     The scene following the creation of the bride is remarkable.  Since it is Elizabeth's brain that is in Justine's body, Victor feels a close attachment with the bride and dances around the lab with her.  The monster enters the picture, and the two force Justine/Elizabeth to choose one of them.  The bride is drawn to the monster because they are both gruesom in appearance.  She is also drawn to Victor because of their continuing love.  She is able to mutter "Victo," and he is convinced that she will return to him.  However, the monster is unwilling to release her.  In the end, when she is forced to choose between her father/brother/lover and brother/monster, she finds it impossible.  She kills herself, leaving both the monster and Victor in despair.  This scene was extremely important because not only did it deny both Victor and the monster the thing that they desired most, but it also linked them to being the same person because of their lost love. 

    The FrankenFilm series was a tremendous success because it brought together three very different films that offer unique adaptations to Mary Shelley's Frankenstein.  The theme of sex and sexuality that is present in the novel is emphasized in the films, bringing humor, passion, and meaning to them.  The films allow the novel to come alive and to be manifested in human form, giving greater meaning and interpretation to Mary Shelley's gothic novel.