Customer Reviews

Gods and Monsters (Special Edition)

5 star:		(105)
4 star:		(28)
3 star:		(11)
2 star:		(3)
1 star:		(12)

 

 

At one point in "Gods and Monsters," Ian McKellan's character, James Whale, gestures to his head and remarks, "The real monsters are up here." The film spends its entire creating a way of life around this observation, portraying the last days of the well-known film director in ways that evoke humor, touching emotion, and above all else, emotionally haunting reflection on one's life.

It's a most unusual film, not completely a biopic, yet not entirely fictional; it's more of a speculation on his latter days, based on the novel "Father of Frankenstein," written by Christopher Bram. The reality of Whale's life, from his superior and delectable wit to the memories of war and Hollywood that delight and haunt him, is the basis of the novel and the film, as Whale relates them to a young gardener in whom he takes an emotional and physical interest.

The story begins by introducing us to Whale's way of life, from his slowly deteriorating health and mental state, to his luxurious home, where he lives with his maid, Hanna (Lynn Redgrave), who is caring yet keeps up a stern demeanor when it comes to his dealings in homosexuality. The presence of the new gardener, Clay Boone (Brendan Fraser), strikes a chord within Whale, who resumes his sketching by asking the young ex-Marine to pose for his drawing, offering a face-only clause as a way of quelling Clay's obvious insecurities.

The film's own openness with the issues of sexuality effectively portrays the flamboyance of its main character, who apparently saw no shame in his ways despite the resentment of homosexuality in the 1950's. The movie embodies this ignorance in Clay, who, at first, is unaware of his newfound friend's orientation. Once he discovers the truth from Hanna, his discomfort becomes even more unstable, to the point where he storms out in a rage of fury over the old man's excessive way with discomforting words. And yet, he returns to act as Whale's model, intrigued by the heartwarming and heartbreaking stories he offers as he sketches.

This is a most fragile and unsteady friendship, yet in spite of the discomfort that surrounds their bond, their is a certain degree of comfort to be found within it. This stems from director Bill Condon's avoidance of character glorification: in "Gods and Monsters," everyone has flaws. We see Whale's mood swings, his obsession with young boys in his old age, and his reluctance to recall his past; Clay also spends his time running, from his family, commitment, and stability. Ultimately, this makes their friendship mutually beneficial, allowing Clay a broader, richer view of life while allotting Whale the chance to face memories he would otherwise hide away forever.

All of this is painted in broad strokes by Condon, who employs humor, wit, and sadness into his stunning adaptation. The discomfort that arises as a result of Clay's discovery of his friend's sexuality is handled lightly in earlier scenes, slowly gaining resonance and meaning as the plot moves along its dreamlike path. Whale's memories of filming the "Frankenstein" movies are realistic in their approach, while his recollections of war and his lost love are emotionally charged. All of this is given a slow yet mesmerizing pace that allows us into the deepest subconscious of the characters, so that we not only see what is going on in their minds, but can feel it as well.

In the film's favor is its credible casting choices, most notably McKellan, who employs wit and real emotional range as Whale. Making sudden and drastic jumps from jubilant to unstable, McKellan's Whale is portrayed as someone whom we feel for, a man whose life is put into perspective in a manner that calls us to look at it with unblinking eyes. Fraser evokes a subtle sexual tension and eroticism as Clay, whose resemblance of Frankenstein's monster is the focal point of Whale's fascination. Redgrave makes a wonderful turn as Hanna, putting her wit and sarcasm to good use as the woman who embodies a maid, a wife, and a mother all at the same time.

Above all else, the most perplexing aspect of "Gods and Monsters" is its connection to Whale's film, "Frankenstein." Clay's resemblance and sense of naivety when in the presence of Whale is very much like the scene from that earlier film that this film's final scene. Seeing that final scene is to finally realize and acknowledge the film's purpose; it's one of those forceful moments in cinema that only come once in a blue moon. The film itself is a most touching achievement, deriving its success from its examination of Whale's life in a manner that makes it compelling rather than interesting.

I'm a Chinese viewer living in Shanghai and I saw this film at the library of a nearby university. When I saw the film, I think it must be a classic or award-winning work because it has every element : superlime acting, intricate plot as well as unquestionablly excellent directoring & shooting. Though I thought I'm not yet prepared to give some so-called review for this movie, I decided to at least tell about my feelings about it to Amazon thus to give some applause to this good movie. It moved me so much. I did not cry. I did not feel like to cry, actually. But I was silent all the night for the feeling it casted on me and for the things it made me thinking. Only after reading Amazon, I found it's a new work in 98' and God, I think it deserves more than a mere some adapting of script award in the Academy. I think Ian McKellen (I knew the name for the first time today)deserves a Best Actor. But maybe, the content of it is too controvertial even in U.S. Yet I think it is a great work for telling a story in a beautifully and craftly way which attempts those ancient and intriguing questions of love, the meaning of life, humanity and art, in a most unimaginable and moving plot. There're two scenes impressed me very much: One is when Whale and the young man taking shelter from a sudden rain in the garden party, he saw, from the veils of rain, a young man in uniform standing under another umbrella, he thought he was his old friend in the army in WWI and he could see the young man smiling to him, backing 60 years, in the battle-field, under the same grey and raining sky, he is smiling so affectionately and so beautifully. The other is at the end of the film, the old man is found dead in his swimming pool and pulled on the bank by the young worker. But threw into the pool again for fear of involving the young worker in the case. When the body of the dead old man was threw into the water, the way he is floating in the water is just like a bird flying in the air. And the music sounds, he seems so free, finally free of everything, worsening health, ghost of the past, all the losses in the life. He's so free, so beautifully flying in the blue water.

Anyone who rents this movie should put aside their homophobic fears; Don't pass this Oscar material film because of its sexual nature. Yes, there are quite a few scenes that may make the weak at heart flinch ! The real story or hidden message is not so much the gay attraction Whale has for Boone or the disgust Boone feels towards homosexuality. They both have a longing or yearning to have some type of normal male sibling companionship that they did not have with their own fathers ! Both characters had fathers who were tough and mentally abusive towards Boone and Whale. Boone's father thought he was a weak coward for being discharged from the marines while Whale's father ( and mother) ridiculed his talent for drawing and placed him in a factory to work at a young age. This is the common ground that both men share. Also, Boone gives Whale a mental jolt or flashback everytime Whale sees him of his days past as a young man (rejuvenation) while Whale (whether intentional or not) shows Boone how to be almost a gentleman and not a knuckledragger without class. However, the true (non-sexual) hidden agenda Whale has in mind for Boone and himself is a real exciting twister !

The only downfall of the movie is that it is slow paced ( for some reason most Oscar material is; a thinking filmgoer's movie). Fraser deserves 5 stars for taking such a challenging role and losing the comical, big goofy guy role for a change. His young and fresh acting skills contrast with the other veteran actors for good intent and purpose to really add depth to the characters and story (his youthful persona contrasting with the seasoned and experienced). With all this said and including the top notch performances by all the actors this dvd version receives 4 stars ( bit of a slow movie, though).

This film is a very faithful adaptation of Christopher Bram's excellent novel Father of Frankenstein (which is probably why it got the Oscar for Best Screenplay Adaptation). Performances by Sir Ian McKellan, Lynne Redgrave and Brenden Fraser keep the action moving along at a fast but believable pace. When the film is done, the viewer feels quite rightly worn out from having run an emotional gamut. Sir Ian makes a splendid James Whale--a man of dignity, talent and superb artistry in the process of losing his mental capabilities, and all too aware of the gradual deterioration of his mind. Does Whale or does he not have the right to direct his final grand exit? That's a question society still struggles with. I especially liked the way Fraser portrayed a "straight", very virile male unabashedly publicly befriending a gay man--something that gives plenty of "straight" males pause today. Vanessa Redgrave truly should have gotten the Best Supporting Actress Oscar, for which she was nominated for her work in this film. Her portrayal of the loyal but often disapproving housekeeper was flawless, superb and consistent. There is real power in McKellan's portrayal of a man very at peace with himself as a successful person in an environment that was for the most part hostile to homosexuals--claiming what was rightfully his against any existing odds. But you will take issue with the character's assessment about where his personal rights begin and end, as he manipulates Clayton in a drama that the trusting gardener has no idea is being played out. At the end of the film you are at odds with yourself about Whale's brillance and aplomb and good humor, which co-exists with his often callous and inconsiderate treatment of those closest to him. McKellan shines as a "god" and a "monster" rolled into one. Also, this movie is a terrific slice of life in Hollywood at its peak in the 1930's and 40's. This film lacks nothing that makes a movie great.

I saw this movie because I really like Brendan Fraser. Whew. Now that that's out of the way, I can say I absolutely loved the film for every other reason than Brendan Fraser (though the fact that he's nearly nude is the reason I watched this in the first place). Lynn Redgrave nearly steals the show every time she has a scene. What a wonderful actress. I sort of knew who Ian McKellen was, but wow....what an astounding performance. I generally don't get movies with too much emotional content because I like to read books for thought and watch movies to turn off my brain. This movie had me up all night thinking about it. The subtle (and not-so-subtle) references between the characters and the monsters, the intricate development of an unusual friendship, facing your own fears and prejudices. It was enthralling. After tossing and turning until 3 am, I went back out to the living room and watched it again. Then I concentrated on Brendan's flawless body, and I was able to sleep easier.

Gods and Monsters directed by Bill Condon and starring Ian McKellen, Brendan Fraser, and Lynn Redgrave is a film about the last days of director James Whale. While it is a fictional account of Whale's last days it seems to based on fact.

Whale is most famous for his direction of the films, Frankenstein, Bride of Frankenstein, and the 1936 version of Showboat.

Ian McKellen is superb as the ex-patriot homosexual forgotten director. He portrays Whale as a man haunted by his past and desires. Fraser as the lawn boy who befriends Whale is great. Fraser's portrayal of a young man without purpose questioning his own sexuality is acting at its finest. Finally, Lynn Redgrave is great as the religious Hungarian housekeeper, sure Whale is destined for hell, but despite her employer's failings continues to show him love and compassion.

Director Condon does a great job visually of portraying how Whale's humor came across in his films. But, more importantly shows how the backdrop for Whale's horror films were a reflection of his past.

If you like me were led to believe that Karloff was the force behind our great horror film masterpieces see this DVD.

Only at the very end does it become abundantly clear exactly what this film is all about. Initially "Gods and Monsters" just seems like a mild mannered tale between an old movie director and his gardener. Even if the film were that simple it would still be great. Fortunately there is something bigger at work here, a sly genius that only really seems clear when Brendan Fraser is walking around in the rain at the end and the credits roll up. When "Gods and Monsters" finally reveals exactly what it's trying to say then it can really be seen as a classic Hollywood picture.

Ian McKellen is unquestionably the star of the show here. He is so vastly superior to everyone on the screen that he alone carries the picture. He plays film director James Whale who has just had a stroke and is reaching the end of his life. After a while he begins to take an interest in his gardener, Clay Boone, played excellently by Brendan Fraser. Initially you wonder if Mckellen, a homosexual, is only interested in Fraser for gay purposes. In one scene prior to his arrival Mckellen takes great delight in forcing a film student to undress for him. That isn't the case though as Mckellen seems to be genuinly interested in Fraser's friendship. The two talk, Mckellen is very nostalgiac and tells Fraser stories about his time in lower class England as a child, his experiences in the war and his eventual exile from the Hollywood community.

As the film progresses Ian Mckellen starts to gradually deteriorate. Overcome by memories of the past he eventually takes his own life by drowning in a swimming pool. His death, although saddening seems strangely appropriate given the circumstances of the film. In one great scene before his death, Brendan Fraser escorts Mckellen onto his former battlefield and lays him to rest next to other dead soldiers. While watching James Whale's most famous movies (The Frankenstein pictures) there is emphasis on one scene which intentionally runs paralels to the Fraser/Mckellen relationship. In one scene of "Frankenstein" the monster comes to the door of a blind man who claims that he is alone "and no soul has spoken to me for years." It is obvious at this point that Fraser's sole purpose was to provide happiness and companionship to this agening man and evtually lead him into death.

Well, enough ranting, "Gods and Monsters" is carried off in fine style. Some may find it long winded and slow, but Mckellen's charm and great scripting should be enough to get most film fans through. Vanessa Redgrave also turns in a great role despite it being significantly smaller than Mckellen's or Fraser's. There is one scene of reminiscing about boys in a swimming pool which maybe is a tad over the top but on the whole Gods and Monsters is a very effective and a very intelligent piece of work.

What a surprising movie! First, you have one of the screen's great performances by Ian McKellen, and then there's the stunning revelation that Brendan Fraser has great depth and power as an actor and has been pretty much wasted in films up until now (except that he is terrific at comedy). This film on DVD is a marvel. The images are crisp and clean, the sound is clear and distinct, and the music score by Carter Burwell is one of the finest of recent years, subtly entwining itself into the psychological makeup of the characters and storyline. "Gods and Monsters" is a movie of rare depth and directorial eloquence. I cannot recommend it highly enough for thinking moviegoers.

Forget the dreadful "Shadow of a Vampire". This is the one to watch.

Here Ian McKellen possibly does his best performance to date (Yes, it is better than Gandalf but not by much!) and so does Brendan Fraser. So two actors have their best roles ever in this movie and that says a lot about the quality of this film. This one has also got a few Oscars, even though that might not say much, it is still quite an achievement given that this film is pretty much a medium budget movie with limited locations and sets.

The story is about the director James Whale who was primarily a horror director in the 1930s and 1940s. This is the story about the perils of old age, sexual discrimination, lust, anger, manipulation and love - all played out to the tune of a film that documents the reasons for this director's status as one of the all time greats.

McKellen is frighteningly real at times. He has an old-age seizure on camera that looks stunningly realistic. The man is an impeccable performer and takes on his role here like a bull by the horns. You feel sadness and grossness for him at the same time. He is a manipulator, a conman, a sexual deviant- but also a great heart. Strangely enough this film has similar themes as Lord of the Rings. Tolken wrote many of the battle scenes, especially the Dead Marshes, because of his real experiences during the war. Whale is also attributing much of his own personal horrors that he paints on his canvas (both films and portrait artwork that he makes) to these artefacts of battle. There is a lot of depth to Gods and Monsters and plenty of emotion to boot. It spans across nearly every era between the early 1900s and the 1940s. Much of it is told in flashbacks especially the making of Whale's horror films.

The plot is basically about Whale and his gardener (Fraser) and their relationship. It is a bit like asking questions and getting answers and showing a bit of skin in-between. Not only do both these actors stand out but Lynn Redgrave plays Whale's housekeeper in her best role to date too! She is an absolute side-splitting hoot and her cynicism is second to none.

It would be hard to tell you much more about the plot without giving lots of it away but let's just say that you will learn a lot about everyone in this delightful film and it does come with a shock attached towards the end as the characters move a little closer to one another. The ending is moving and filled with sadness and loss with the passing of time. You can bring a lot to this movie and take a lot of it away with you too.

This is an inspiring movie about talent, friendship and filmmaking. It is hard to find dramas much better than Gods and Monsters...

I watched this movie in 1998 with my wife just for killing some time because at that day we were at the mall just hanging around. What a wonderful surprise!! A very touching movie by director Bill Condon whose Sister, Sister I had seen several years ago. I don't know why Sir Ian McKellen didn't win the Academy Award (I think Roberto Begnini won that year). This is probably his best interpretation EVER, so subtly, portraying a very solitary old man, director James Whale, overwhelmed by his own demons. Incredibly, Brendan Fraser (a comedian) is very good portraying the young and handsome gardener the subject of Whales affection. In my humble opinion he deserved being nominated for Best Supporting Actor. The other surprise is Lynn Redgrave as Whales' maid. She's just fantastic. The soundtrack (especially the last track "Friend?") is also very moving and at times so relaxing.
Forget about Dream girls this is Bill Condon at his best. A must see!