Gods and Monsters (1998) Reviewed by Eugene Novikov http://www.ultimate-movie.com Member: Online Film Critics Society
***1/2 out of four
"I want you to be my monster."
Starring Ian McKellen, Brendan Fraser, Lynn Redgrave. Rated R.
Not too many people know who James Whale is, but it's a safe bet that a good chunk of them have seen his movies. If we are to believe the semi- biographical Gods and Monsters, Whale would have wanted it to be that way. This is an insightful, haunting exploration of the last days of the Frankenstein and Bride of Frankenstein director, and it is notable for introducing one of the first complicated gay characters in a Hollywood movie.
Gods and Monsters has no interest in being a biopic of Whale's life because it tracks only the final few days of his life, and it's probably a better movie for it. It's focus is on Whale's (Ian McKellen) untraditional and deceptive lust for heterosexual gardener Clayton Boone (Brendan Fraser). It begins with Whale (a fairly talented artist, aside from being a director) asking Boone to "sit for him," (pose for a portrait). At first, Boone doesn't realize that Whale is gay and grows fascinated with the old man. When he does discover Whale's sexual orientation from his dedicated and protective maid (Lynn Redgrave), he is frightened, refusing to sit for the guy. But he comes back, only to storm out again, disgusted with Whale's "locker room talk." Boone returns yet another time, after Whale promises to tone down the aforementioned "locker room talk," and finds their platonic relationship to be strengthening.
Meanwhile, Jimmy himself is suffering from hallucinations and mental attacks as a result of his stroke not long ago. His ailment leads to desperation and depression, which build to the point where he is forced to ask Boone for an incredulously big favor.
What is perhaps most sensational about Gods and Monsters is Brendan Fraser's bravura performance; up until seeing this film I intensely disliked the young actor because of his tendency to ruin the movies he is in (Blast From the Past, for example). I was surprised how expressive an actor he proved himself to be here. This is impressive because his character's dialogue is minimal, with McKellan doing most of the talking. That requires Fraser to act through body language; a difficult skill to master, but something he proves capable of doing well.
This is not to ignore McKellan's Oscar nominated turn. He earned that nomination with his touching performance here (although, at the risk of sounding like a philistine, I would have chosen his performance as the Nazi in Apt Pupil for the nomination); an understated, compelling gem.
Whale dreaded being remembered solely for his work in the Hollywood horror genre, and he thought Hollywood to be the equivalent of a battlefield. He rejoiced in being free from it, only reluctantly going to receptions with fellow movie people. In the end, perhaps, it is what killed him: the memories of Hollywood and war blending together to form a living nightmare. ©1999 Eugene Novikov‰
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