This year celebrating women in cinema has many anniversaries to promote. One of the most important is the 200th anniversary of the writing of Frankenstein, or The Modern Prometheus by Mary Wollstencraft Shelley. This film was surely conceived as a celebration of the bi-centenary. I’m a little surprised that there hasn’t been more of a promotional push for it. Or perhaps there has – perhaps in women’s magazines and websites/social media? It’s certainly an interesting second feature for director Haifaa Al-Mansour, following Wadjda in 2013, especially as 2018 is the year in which Saudi women have got the legal right to apply for a driving licence for the first time and cinemas are finally being opened in the Kingdom. Next year is the 200th anniversary of the Peterloo Massacre in Manchester, which is commemorated in Mike Leigh’s new film and which brings us to Percy Bysshe Shelley, Mary’s husband and a radical poet who wrote a long poem ‘The Masque of Anarchy’ after hearing about the massacre. His inspirational words “Ye are many – they are few”, are still quoted today. Unfortunately, Peterloo and other events such as the Napoleonic Wars are not mentioned in the film, but it’s necessary to be aware of Percy’s radicalism alongside Mary’s amazing creativity. Mary’s mother, Mary Wollstonecraft (author of A Vindication of the Rights of Women), died a few days after her daughter was born and her story hangs heavy over Mary.
This is an independent film with funding from three countries. In practical terms, some of location work was in Luxembourg and much of the studio work and post-production was in Ireland. The BFI had a lesser role I suppose but the cast is primarily British apart from Elle Fanning as Mary. The history of the production begins with debutant Australian screenwriter Emma Jensen who received funding support from Screen NSW and Screen Australia and whose agent sold the project to an American producer, who in turn attached Al-Mansour (who had studied in Sydney). Elle Fanning was cast early and then HanWay (the UK company led by Jeremy Thomas) took over as producer and international sales agent.
What kind of costume/heritage/historical biopic (as well as ‘romance’) does Mary Shelley turn out to be? It could be one of those traditional Hollywood studio biopics – except this isn’t a studio pic as such. Could it be one of those BBC-style costume pics or something more radical and modernist? For me, Elle Fanning does rather push it towards Hollywood, though the overall look and feel of the film make it appear more realist in the mode of BBC adaptations of 19th century novels. As Mary, Fanning is perhaps too tall, too healthy and too attractive. There is nothing wrong with her performance, but she stands out as a ‘star actor’. I’m assuming that the initial producer thought getting her on board would make finding financial backing easier and that’s probably correct. I am not criticising Ms Fanning who is undoubtedly a talented actor, but there are many young British actors – Florence Pugh for instance – who might have been considered. As it is, Pugh’s co-star in The Falling (UK 2014), Maisie Williams, is rather wasted in a minor role in Mary Shelley – her status as a star of Game of Thrones came too late perhaps? I think that one possible pointer to what kind of film Mary Shelley might have become is offered by Jane Campion’s film Bright Star (France-Australia-UK 2009) about the young John Keats and Fanny Brawne, a similar pairing of two ‘creative’ young lovers at roughly the same ‘moment’ in history as Mary and Percy. It’s an unfair comparison because Jane Campion, Ben Whishart and Abbie Cornish have more experience. It’s interesting though because both films originated in Australia. Campion chose a title that didn’t immediately suggest the costume biopic and Mary Shelley in fact began with the title A Storm In the Stars – there are at least two scenes in the film in which gazing at the night sky features prominently.
If Bright Star was set in rural Hampstead with flowers and butterflies and cottage gardens, Mary Shelley is signed as ‘gothic romance’ from the get-go. The beginnings of the industrial age are in the background (and so is the not-mentioned war). The key London locations are dark and gloomy St. Pancras and upper-class Bloomsbury, the former partly a studio construction, the latter a Dublin street? The film’s plot gives no indication of specific dates. I found this odd since these were two ‘real lives’ lived at a time when sudden death was not unusual. But perhaps it is just me who wants the clear historical context? As far as I can work out, the narrative begins in 1813, Mary meets Percy in 1814. In 1816 they spend the summer by Lake Geneva with Byron and Polidori and the short story idea for Frankenstein is first developed. The novel is published in 1818 and the narrative ends around 1819.
The film is presented as a romance and as an introduction to the origins of the Frankenstein story – thus the gothic romance. It should be a very dark and passionate story – and a very sexy one. I’m trying to imagine the production meetings and the arguments about how much to ‘push’ the more salacious possibilities of the story and how important a sense of repression/restraint might be. Although I enjoyed the film I do think it feels rather stifled in its attempts to reach its potential. The script is in tune with the current campaigns around ‘MeToo’ and sexual abuse and with the suppression of the true authors (Mary and Polidori) of stories passed off as the work of Shelley and Byron. That’s all fine but it loses some of its impact when Shelley (Douglas Booth) and Byron (Tom Sturridge) are poorly developed characters with no real substance. They came across to me like a pair of public school boys – privileged and cruel but not displaying any real talent. (By contrast, Stephen Dillane as Godwin, Mary’s father, seems just right.) The whole Lake Geneva sequence cried out for something like the appearance of Elsa Lanchester as Mary in the 1935 Bride of Frankenstein. 1816 was the ‘The Year Without a Summer’ in which crops failed and the skies were dark with rain – I don’t think enough of this is made in the film. I’m guessing that the budget limitations were partly to blame. Overall though I think the narrative just doesn’t have enough ‘passion’ and ‘wildness’, the key features of Romanticism.
I found the film ‘stiff’ and the Gothic over-wrought. I think the problem is partly the script which, as Roy notes, misses out on a lot of import.
‘Bright Star’ is definitely better. Roy remarks that the parallel may be unfair because the trio of that film have more experience. Maybe someone should have pointed this out. After one film, [and television work I have not seen] the director moves from a Saudi neo-realist drama to a British C19th romantic drama; this reminds me of how Hollywood in the studio era transplanted foreign filmmakers to their conventionalised movies. Some worked, many did not.