As I write in my new article, The Ghost of Frankenstein: The Monster in the Digital Age, “at Universal Studios in Hollywood, the parking decks for visitors are named after the various classic monsters (the Frankenstein lot, the Dracula lot, the Mummy lot, and so on), with enormous paintings on the outside depicting the first iterations of each character, but that’s about all Universal seems to be able to come up with. Universal is desperate to restore their ‘creations’ to some semblance of their former glory, but the 2017 version of The Mummy promises little in the way of originality or imagination, while piling on the special effects and action sequences in a frenzied attempt to sustain flagging audience interest.
Copying the Marvel and DC Universe method of churning out franchise films on a regular basis, Universal is plowing ahead with a similarly designed program of entries in the coming years. Noted Universal chairperson Donna Langley of this strategy, ‘we have to mine our resources. We don’t have any capes [in our film library]. But what we do have is an incredible legacy and history with the monster characters. We’ve tried over the years to make monster movies — unsuccessfully, actually. So, we took a good, hard look at it, and we settled upon an idea, which is to take it out of the horror genre, put it more in the action-adventure genre and make it present day, bringing these incredibly rich and complex characters into present day and reimagine them and reintroduce them to a contemporary audience.’
I would argue that it’s not going to work; that it hasn’t worked thus far; and that it won’t work in the future. Indeed, this would seem to me to be the very worst possible strategy. The Frankenstein legend, and with it The Wolf Man, The Mummy, and Dracula are not material for a Bourne or Mission: Impossible series – they’re not action movie characters. All this will do is degrade the material further. They’re not action films; they’re films that inspire genuine dread. The original Mummy, for example, depended upon pacing, atmosphere, and Karloff’s iconic performance in the title role.
Only by returning to the source material, treated with utmost fidelity, can anything worthwhile be attained. What is needed is a creative force like the Hammer Film Productions team in the mid 20th century, which took the material seriously, and treated each project with the utmost care and attention, placing the emphasis on character, setting, and thematic development, rather than relying on special effects and fleeting star power to put these forthcoming projects across in the marketplace.
Until Hollywood returns to the original narratives that inspired the first wave of classic monster films, as Christopher Nolan did when he rescued the Batman franchise from ignominious parody with the straight-ahead reboot Batman Begins (2005), there’s no real hope for a Renaissance of horror. In these new Universal monster films and others like them, we will get only a simulacric vision of these mythic characters, especially Victor Frankenstein and his creation; in short, all we will get is the ghost of Frankenstein.
That’s hardly enough to inspire a whole new generation of millennial horror fans, let alone resuscitate the classic figures that inspired two cycles of Gothic horror films – the first Universal series, and then the Hammer remakes in the 1950s and 60s, which brought the various monster back to their original roots. Frankenstein’s ‘undying monster’ may finally be dead after all; we’ll just have to wait and see what Hollywood is cooking up in their own mad labs.”