The film Mary Shelly Frankenstein is significantly diverse from the book



The film “Mary Shelly’s Frankenstein” is significantly diverse from the book. The heading of the movie ought to have merely been “Frankenstein.” The initial change that one can notice is when the team initially met Victor Frankenstein. According to the book, the crew initially came across the monster and after that met Frankenstein. Conversely, according to the film, Frankenstein was being pursued by the monster while they merely heard him following their previous meeting with Victor. The next alteration that could be noticed was the degree of Victor and Elizabeth’s connection. Their connection in the volume depicted that they were unloving to one other yet. In the film, Victor had previously proposed to her before his departure for Ingolstadt. The additional change that could be observed was the way Victor’s mother passed. According to the volume, Victor’s mother had plans to adopt Elizabeth sternly with the intention that Victor could get married to her. Moreover, Victor’s mother died from ruby fever after Elizabeth had also suffered from the same illness. In the film, Victor’s mother passed away after conceiving and then Victor’s father settles on adopting Elizabeth.

Even though, Frankenstein is convincing in itself, it as well functions on a figurative degree or degrees, with Frankenstein’s monster positioned in the industrialization emergence, in Europe, and passing away and annihilation that the monster reeks depicting the downfall that Shelley dreaded industrialization would finally bring. The novel includes numerous “framing devices” that are tales encircling other narrations, positioning them up in one means or the next. The letters that Robert Walton’s dispatches to his sister outline the narrative, which Victor Frankenstein notifies Walton. Moreover, Frankenstein’s tale encircles the tale that the monster narrates, which in sequence outlines the fiction of the De Lacey community.

Frankenstein is a gothic work of fiction. Gothic narratives concentrate on the unexplained or paranormal; occur in dark, frequently exotic, surroundings; and gives way to uneasiness if not horror to readers. The double is a recurrent characteristic of the Gothic work of fiction, and in some logic Frankenstein, as well as, his monster are also doubles. A number of fictional historians also believe Frankenstein the original science creative writing novel. A prominent distinction between the volume and the film was the Monster’s education. They together center around the Monster’s time expended examining the De Laceys. In the film, his time was concentrated typically to just scrutinizing the family, as well as, the manner they acted towards one another. He learned relatively speedily how to talk and read and learned to appreciate the dissimilar sentiments people obsessed. The simple explanation of the Monster’s speedy learning course is that, in a film, huge periods of time could be used up on this otherwise the film would tow along.

There is also a noticeable difference between the book and the movie concerning the learning of the monster. Despite both works focusing on the time the monster spent on watching the De Lacey’s, the movie showed how he devoted most of his time in watching the family and learning the different emotions that people went through in life. He also learned rapidly how to read and speak through his observations. The movie does not spend time on the learning of the monster excessively since the movie would seem to drag on, and this justifies how the movie spent less time on the event.

In the book contrastingly, the author went into detail on the learning of the monster. This is highlighted in the narrations of his stay near the De Lacey’s, and how he came across four books. The first book, the Volney’s Ruins of Empires, the monster was given insight on religion and governance of countries (Powrie and Stilwell, 2006). He also learned about man’s origins. The Plutarch’s Lives, the monster got to appreciate the heroes of before. Te monster also through this book was enlightened on politics and its effects. The third book was the Sorrows of Werter, and this was instrumental in educating him on domestic life. The last book the monster came across was paradise lost by the author Milton. This book was significant in his learning since he was educated on the cosmic world. He became aware of his creator, and he was able to compare his existence with characters like Adam, Satan and Eve who are synonymous in religion. The knowledge from these books educated the monster, and enabled him to interact with his surroundings and understand humanity (Powrie and Stilwell, 2006). The book depicts the monsters education process better since they indulge into the subject in depth. As for the movie, the event passes on too rapidly, denying the author a chance to reflect on the subject.

There is evidence of a similarity between the two works when the monster is shunned by the De Lacey’s. The monster interacts with the eldest member first due to his blindness and they are able to interact without being judged on his appearance (Powrie and Stilwell, 2006). This is, however, momentary when the rest of the family returns and fear for the safety of their blind member due to his interaction with the monster. The appearance of the monster caused havoc among the family members who could see. The monster due to their reaction accepted the actuality that the family will never acknowledge him. The rage during this realization resulted in burning down the De Lacey’s cabin leading to his predicaments as Frankenstein in the movie.


Powrie, P., & Stilwell, R. (2006). Changing Tunes: The Use of Pre-Existing Music in Film.

Aldershot: Ashgate.