Plot Details: This opinion reveals major details about the movie's plot.

As I read most better works of fiction, I enjoy a bit of creative casting. When I read Christopher Bram's Father of Frankenstein upon its publication, I kept getting visions of Sunset Boulevard. In fact, if you flip both the gender and fate of the two principals 180 degrees, throw in the kept men and the in-ground swimming pool (for effect), there’s a running resemblance between these two stories. The big difference is that William Holden’s Joe Gillis gets the dreary, leaky-roofed room above Norma Desmond’s garage, while Brendan Fraser’s Clay Boone receives the spoils of James Whale’s sparkling mansion.

Set in 1957, Gods and Monsters is the fictionalized account in supposition to the final days of Frankenstein director James Whale (Ian McKellen). After suffering a mild stroke, Whale is medicated to relieve the occasional attacks of brain freeze that find his nostalgic regression increasing on par with his melancholy. With his career and most of his friends long past, Whale has isolated himself with his eastern European housekeeper Hanna (Lynn Redgrave) and occasional visits from his former lover David (David Dukes).

Then one day the fates deliver a boy-toy in the form of the new groundskeeper, Clayton Boone - only not in the conventional sense. In his initial conversation with Whale’s affable and effete old gentleman, Boone displays a combination of boredom, disinterest and irritation at the disruption to his work. Boone’s ex-military travel-trailer existence as the slow-but-beautiful yard-man fits nicely into the manipulative game of cat-and-mouse the old man has in store for the seemingly aimless and easily-captivated Boone.

As Whale’s mental disabilities increase, so does the incidence of fantasy vs. reality, with his long-ago dreams of childhood and war populated by people both past and present. Once a brilliant mind with a flair for the dramatic, he now puts his remaining effort and ability toward his grandiose plan for the future. In the meantime, what better way to brighten ones spirits than a pool-side game of strip interview with an exuberant and star-struck film student (Jack Plotnick), followed by a round of soggy cucumber sandwiches.

The beauty of Ian McKellen’s performance here is in its complexity. This master-manipulator with mood-swings to match, he’s Laurence Olivier as refined English gentleman, with a touch of the late ascot-wearing Charles Nelson Reilly thrown in for the fun of it. He owns each and every scene he occupies; though Jack Plotnik’s nellie film-school nerd gives him a run for his money like none other.

Gods and Monsters represents one of the few smart career choices made by Brendan Fraser. His approach to the role of Boone is that of dope and dullard, whereas Bram’s book paints Boone as an ugly-handsome time-bomb - a dominating sexual and short-fused presence - complete with estranged family - who’s more dynamically street than straight. If the book Boone had shown-up for the film, he would have been nominated, and McKellen would have more than likely won his Oscar.

Likewise with Lynn Redgrave’s performance as Hanna. Her part was expanded for the film - with a sledgehammer. Here she’s the trained crow that sits on your shoulder and pecks at your head with abandon. Her staccato delivery and wavering accent point directly to that old saying less is more. Redgrave has the lineage and talent, but Camp Hanna is just a bit over-the-top as the Hungarian Hazel with hutzpah.

Most interesting of the Special Features contained on the Universal DVD is the commentary by Writer/Director Bill Condon. His nuts-and-bolts account of the film’s production is fascinating - right down to the shooting schedule and supporting-player bios. His discussion of budget ($4 million) and the fact that George Cukor’s party scenes were shot first (as most potential budget-busters apparently are) explains Fraser’s discomfort and lack of character focus at this midway point in the film. Also included is a short Whale documentary narrated by Clive Barker; production notes, cast bios and the theatrical trailer. Both video and audio are extraordinary; presented in Anamorphic Widescreen (aspect ratio: 2.35:1).

When you consider that the current average film budget is in excess of $40 million, the economy and success of Gods and Monsters is truly extraordinary. With a fine score by Carter Burwell, Golden Globe-winning work by McKellen and (gasp) Redgrave, and an Adapted Screenplay Oscar for Condon, Gods and Monsters is an excellent piece of independent cinema worthy of your time and consideration.

This is an entry in the jps246 2007 Gay Pride Write-Off

Gods and Monsters (1998)
From the novel “Father of Frankenstein” by Christopher Bram
Screenplay and Direction: Bill Condon
Lions Gate Films - Universal Pictures (distribution)
DVD: Universal Home Video (1999)


Recommended: Yes

Viewing Format: DVD
Video Occasion: Good for a Rainy Day
Suitability For Children: Not suitable for Children of any age