Frankenstein has clearly been a labour of love for the director Guillermo del Toro. I am editing Frankenstein for The Oxford Complete Works of Mary Shelley so have spent a lot of time with her tale too. While del Toro’s deviates in noticeable but interesting ways from Shelley’s novel, the film remains true to the heart of her story with its obvious compassion and empathy for the Creature created in an unorthodox experiment by a young scientist. The film is grand and lush, the costumes are incredibly opulent, the settings awe-inspiring, and the score emotional. I watched it in a sold out 600+ seat cinema in Manchester, filled with a young audience mainly in their 20s and late teens who laughed, cried and winced along with the action on screen. Read more: Frankenstein at 200 and why Mary Shelley was far more than the sum of her monster's parts It is divided into two parts – scientist Victor Frankenstein’s (Oscar Issac) narrative and then the Creature’s (Jacob Elordi) narrative – framed by and interspersed with the story of a ship caught in the ice and a captain faced with mutinous sailors who want to give up on their foolhardy mission and return home. This very much follows Shelley’s original tale. A Consultation of Physicians, or The Company of Undertakers is an engraving by the English artist William Hogarth that satirises the medical profession. Wellcome The main narrative in the film has been moved to 1857; Shelley’s book is set in the 1790s. This enables a far greater range of technology to be employed – from early photography, flushable toilets, and gigantic voltaic piles, which were the first electrical batteries.However, many scenes evoke earlier times, such as the gowns and wigs of the medical professionals who reject Victor Frankenstein’s heretical experiments with corpses. These have an 18th-century aesthetic, wearing large white wigs like those depicted in William Hogarth’s 1736 engraving A Consultation of Physicians, or The Company of Undertakers. The film makes full use of historical medical knowledge. For example, one breakthrough in Victor’s experiments comes when he is given a map of the lymphatic system, which is said to be the fifth long lost Evelyn Table. The real four tables are from 17th-century Italy and were an educational tool to demonstrate the vein, artery and nervous systems. Famously, these wooden boards were pasted with real human tissue. Read more: The dark history of medical illustrations and the question of consent Just as the surgeon who gathered the material for the Evelyn Tables is unlikely to have asked for the patient’s consent before their death, Victor is relentless in his search for body parts to build his monster. One of the most visceral scenes is of him surrounded by piles of heads, legs, and other human parts, sawing off what he intends to use, and lugging sacks of unwanted bits of bodies to be slung into the gutter. Throughout, Victor is brilliant but single-minded to the point of monomania. He is likened, as he is in the novel’s subtitle, to the mythological figure Prometheus who stole fire from the gods to give to humans. But, unlike Prometheus, Victor’s actions seem to lack much altruistic purpose.The one character who sees through him is Elizabeth Lavenza (Mia Goth), newly imagined as the intended wife of Victor’s brother William (Felix Kammerer). Elizabeth in this version is herself an amateur entomologist (a scientist who studies insects). Her scarab necklace, with its Egyptian symbolism, is a symbol of renewal and rebirth – a symbol of her affinity with creatures that are often misunderstood. Del Toro creates animosity between Victor and his father Leopold (Charles Dance) to prepare us for the inadequacies of Victor’s relationship with his creation. He also leans into the theory that Victor and his Creature are doubles. Nowhere is this more clear than when the scientist identifies himself as Victor and the monster applies that name to himself. Both characters also emit the same animalistic growl when they are angry.There are also visual signs of this doubling. At first, the monster is practically naked bar a few bandages until he acquires a long coat from a fallen soldier and other swaddling layers, which only enhances his formidable size. When Victor begins to hunt the Creature, he is dressed in a similarly huge fur coat. His gait is ambling, much like the creatures in his first steps, as he drags his prosthetic leg across the snow in pursuit. Their resemblance seems to signify a merging of identities. It is difficult to know who is the hunter and who is hunted. Read more: Two centuries on, Frankenstein is the perfect metaphor for the Anthropocene era Created from a process declared unholy, obscene and an abomination, and declared by Victor to be a mistake, the Creature endures. In fact, as it all ends we are left with a final close up of the monster’s face, cementing del Toro’s sympathy with the Creature. In the film, the Creature is, throughout, afraid, attempting to be gentle, wanting to find affection at the hands of the humans he encounters but most often instead encounters pain and suffering. Ultimately, he is not of “the same nature” as humans, which allows for some intriguing differences. Despite this, he insists that he is not a “something” but a “someone”. Those watching will be left with the Creature’s words reverberating in their heads, words which shine a harsh light on us all: “the world will hunt you and kill you just for being who you are.”Sharon Ruston does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.