LISA FRANKENSTEIN
US, 2024, 101 minutes, Colour.
Kathryn Newton, Liza Soberano, Cole Sprouse, Carla Gigino, Joe Chrest, Henry Eikenberry, Bryce Romero.
Directed by Zelda Williams.
For a while at the opening of the film, this seems to be just another high school comedy/drama, the target audience seeming to be the kind of girls that were portrayed. A very limited audience.
However, there are indications that this film will be not exactly what we might be anticipating. There is a clue when we see that the screenplay was written by Diablo Cody, Oscar winner for Juno, her films including Jennifer’s Body, and a focus on fiction for younger readers, Tully, Young Adult and the screenplay for the Meryl Streep musical vehicle, Ricki and the Flash.
The central character, Lisa, is played by Kathryn Newton (Big Little Lies). The mother has been killed by an intrusive burglar, visualised), her father soon married again, Lisa inheriting a kind of wicked stepmother of the constant criticism kind, played by Carla Gugino, and a welcoming sister, Taffy (Liza Silverado).
But, Lisa is emotionally erratic, sometimes withdrawn, sometimes prickly, spending a lot of time in the forest, a cemetery where she sees the bust of a young musician from the 19th century with whom she becomes infatuated.
And, unpredictably, it goes on from there, probably testing the patience of many viewers, tantalising others so much so that there are predictions that it will become a cult classic.
We are soon moving into Tim Burton territory, touches of Beetlejuice, memories of Edward Scissorhands with the Creature plaintively resembling a mute Johnny Depp as Edward.
The film is billed as a coming of RAGE film, the young musician struck by lightning and coming alive, billed as The Creature (played by Cole Sprouse), so, echoes of Frankenstein. Lots of complications as the Creature takes up residence in the house, hiding and sleeping in the cupboard, mute with several body parts missing. A possible romance, especially on his part, memories of his grief in his real-life, but Lisa with her eye on a sexual liaison with the editor of the school magazine who has praised her poems.
So, while the film works on this strange Frankenstein variation, it becomes very violent, The Creature impulsively acting on Lisa’s behalf, the death of her stepmother, the mutilation of her science lab partner who groped her, and increasing threats.
On the other hand, there is something lyrical about The Creature at home, gradually looking more human, acquiring more parts, the hand of the groper, able to play the piano, the stepmother’s ear, and (a critic suggested moving into John Waters territory) killing and castrating the would-be lover and taking his penis.
Complications at school, complications with the family, especially with the typical teenager new sister whom she catches with the editor.
What is Lisa to do, to live eternally with The Creature, going into the tanning machine, burning up – and a glimpse of eternity, The Creature reading to the reclining Lisa, a poem by Shelley.
One might say you couldn’t make it up – but Diablo Cody has, the cast is obviously very committed to it, and direction is by Zelda Williams, her first feature film after many music videos.
Cult classic? But it certainly is different!
