Cheap Gods and Monsters (DVD) (Ian McKellen, Brendan Fraser, Lynn Redgrave) (Bill Condon) Price

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Customer Reviews of Gods and Monsters

An actor's film
What could be more engaging than a film about Hollywood made by people who have an inside track? This is precisely what makes Gods and Monsters such an exquisite film. There are many levels which will appeal to different people. People looking for a good story will find one superbly crafted. Those looking for industry jokes will find them as well, cleverly hidden behind the storyline. It's also a love story of sorts: of a director with his craft; of an aging man with a younger man; of a caretaker with her charge. Ian McKellen, Brendan Fraser and Lynn Redgrave are expertly cast in this film. It doesn't hurt that it was co-produced by Clive Barker (a gay horror film director himself) The connection between the horror movie characters (the monster, the bride of the monster) and the characters in the film is expertly woven. This is a film within a series of films. Brendan Fraser is superb as the lonely young man who can't understand his attraction and revulsion for the aging director; Lynn Redgrave is flawless as the loving caretaker. Sir Ian MacKellen was indeed robbed of his Oscar for his performance in this film.

Let this film open your heart.

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Powerfully acted, psychologically mesmerizing.
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.

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Good movie but slim on the extras
Without a doubt, those who appreciate fine, character-driven films will find much to like in Bill Condon's 1988 critically acclaimed biopic on legendary horror director James Whale. Ian McKellen delivers his finest performance to date as the charming, charismatic director whose best days are behind him along with Lynn Redgrave as the doting maid and Brendan Fraser as a young gardener who strikes up a quick and quirky friendship with Whale. The beauty of this film lies in its narrow scope with its very small palette of locations and supporting characters, giving the film a very intimate feel in the close confines of the three major players along with the subtlety of their interaction.

On the disc itself all you'll get is a poorly transferred trailer and a ho-hum 30 minute featurette that offers little in the way of further value. Also disappointing is the lack of a proper Dolby 5.1 audio track - all you'll get on this shiny disc is a paltry 2.0 mono job.