Review of Gods and Monsters (1998) by Cassandra M — 15 Nov 2009

A trio of excellent performances adorn "Gods and Monsters", Bill Condon's film about the elderly James Whale, one-time Hollywood director. Reclusive, waspish and cantankerous, Whale is looked after by his maid Hanna, a deeply religious lady who despairs of his gay sexuality but dotes on him nevertheless. Into the mix comes a slightly dim-witted young gardener Clayton Boone who catches Whale's eye and agrees to sit for the old director while he sketches him. Boone, initially unaware of Whale's gayness and then repelled by it, eventually comes to respect and love the old man. They are like two lost souls, polar opposites who nevertheless connect and come to depend on each other, much in the manner of Dr. Frankenstein and his monster in the movie that made Whale's name.

Ian McKellen must have been the only choice to portray Whale, and he clearly relishes the opportunity. A biting wit masks his inner despair as he looks back on a life of childhood deprivation (much of it emotional), wartime loss, and fleeting happiness found in the gay subculture of Tinseltown. The accumulation of these experiences seems etched on McKellen's face so that there is not one moment when he is not inhabiting the role. Lynn Redgrave is simply wonderful in support as Hanna; her scenes with McKellen have a real fizz and convey a true sense of fondness between the two characters. Brendan Fraser, meanwhile, is very good as Boone. It may seem that playing nice but dim would come easily to Fraser, but there's a little more to him than that and he adeptly renders the subtle awakening in self-understanding triggered by Boone's contact with Whale.

A character-driven chamber piece, "Gods and Monsters" feels more like theatre than cinema, despite its Hollywood theme. Great acting alone can't quite carry it, however, and after a sparklingly witty opening the pacing drags somewhat. On a conveniently dark and stormy night, the film descends into melodrama for its final act. A pity, because there's so much to admire here. Just as in his recent film "Kinsey", Condon shows himself to be a highly literate and sensitive film-maker, and a great director of actors. He's certainly not afraid to tackle subject matter that may not sit too comfortably in the multiplexes of middle-America. Unlike Dr. Frankenstein, however, I'm not sure he's yet managed to animate one of his creations with the sort of kinetic charge that truly brings a movie to life.