The Bride is a bewildering symbol of rebellion in an unlikely love story.
Frankenstein’s monster, a.k.a. Frank (Christian Bale), is exceptionally lonely. In 1936, he seeks out Dr. Euphronious (Annette Bening), who continues his creator’s work. Ida (Jessie Buckley) is an escort. When a night of revelry ends in her murder, she becomes the natural choice for their experiment. Ida awakens with no memory of her previous life, but a very strong sense of self. When some fun in the seedy part of town turns violent, the reinvigorated couple go on the run.
Early on, there’s a Bonnie and Clyde vibe as the pair outrun police detectives and commit petty crimes to fund their survival. However, as they grow closer, there’s a toxicity that seeps into their relationship that more closely resembles Natural Born Killers. Then there’s the less complimentary similarities to Joker: Folie à Deux as Frank regularly slips into musical fantasies and the narrative frantically juggle many competing ideas.
After a life of debasing herself for sleazy men, The Bride gives Ida the opportunity to speak her truth and retake her power. Supporting her endeavour is an unlikely ally: Mary Shelley. Also played by Buckley, the Frankenstein author appears in black and white. Mary possesses Ida and demands she revolt against everything holding her back. The effect is frenzied.
Consequently, their love story is built on accepting each other as they are. As Ida becomes more emboldened and self-possessed, she adopts the mantra, “I prefer not to.” She’s done conforming to the world of men.
Meanwhile, Frank obsesses over silver screen star Ronnie Reed (Jake Gyllenhaal). Reed represents everything Frank is not, so he often imagines himself in Reed’s tap-dancing shoes. This sad fantasy culminates in a fever dream set to “Puttin’ on the Ritz.”
Director: Maggie Gyllenhaal
Starring: Jessie Buckley, Christian Bale and Annette Bening
