Frankenstein’s Monster & Maggie Gyllenhaal’s ‘The Bride!’: Exploring Isolation & Female Rage

Maggie Gyllenhaal is wrestling with monsters – both literal and metaphorical – in her latest project, “The Bride!” The film, a visually arresting and thematically ambitious reimagining of the Frankenstein story, arrives in Swedish cinemas on March 6th, and Gyllenhaal spoke recently from a luxury hotel in London about the film’s genesis and its exploration of isolation, desire, and the monstrous within us all.

From Ghost Stories to Gothic Romance

The story behind Mary Shelley’s 1818 novel Frankenstein; or, The Modern Prometheus is almost as well-known as the story itself. As recounted in multiple sources, including Literariness.org, Shelley conceived the idea during a particularly gloomy summer in 1816 at Villa Diodati on Lake Geneva, Switzerland. A challenge from Lord Byron to write a horror story sparked the creation of the iconic tale of Victor Frankenstein and his creation. Gyllenhaal’s film doesn’t retell that story directly, but rather focuses on the creature’s intended mate – a character largely absent from Shelley’s original work and relegated to a silent role in the 1935 film adaptation.

“She’s the resurrected bride who’s meant to fill Frank’s enormous unmet needs,” Gyllenhaal explained, referencing the character of Ida, played by Jessie Buckley. “Instead, she wakes up with her own insatiable needs and a furious rage. She doesn’t fit the fantasy, doesn’t fit in the bride box. I wanted to develop a film about people who don’t fit anywhere. Which, really, is all of us.”

A Bonnie & Clyde Escape

Ida’s story takes a decidedly unconventional turn. Revived by a boundary-pushing doctor, she finds herself thrust into a chaotic and violent world, ultimately embarking on a fugitive journey with Frank (Christian Bale). This dynamic, Gyllenhaal notes, evokes the outlaw spirit of Bonnie and Clyde. Her husband, Peter Sarsgaard, co-stars as one of the detectives pursuing the pair. The film’s aesthetic, a blend of surrealism, steampunk, art deco, and musical elements, is a deliberate choice, reflecting Frank’s own worldview shaped by years spent in darkened cinemas. Initially, Gyllenhaal considered setting the film in the 1870s, exploring the rise of spiritualism in post-Civil War America, but ultimately landed on the 1930s to better align with this cinematic influence.

“That’s how everything clicked into place,” Gyllenhaal said, gesturing to her waved hairstyle. “And I love the 30s aesthetic, as you can see.”

Fever Ray’s Haunting Influence

The film’s sonic landscape is as distinctive as its visuals, thanks in part to a collaboration with Swedish artist Fever Ray. Gyllenhaal discovered the artist through her husband, Peter Sarsgaard, and was particularly struck by the music video for “Kandy.” “Peter showed me the music video, have you seen it? It’s a sick video. Fever Ray is monstrous in it. And lovely!” she exclaimed. Gyllenhaal was so inspired that she invited Fever Ray to contribute two original songs to the film’s soundtrack. You can view the unsettling and captivating “Kandy” video here.

The Allure of the Monstrous

Gyllenhaal’s career has consistently drawn her to complex and often marginalized characters, from her breakout role in the provocative “Secretary” (2002) to her portrayal of a sex worker turned porno director in the HBO series “The Deuce.” She sees a common thread in these roles – an exploration of societal outcasts and the darker aspects of human nature. “Culturally, we’ve used the idea of the monster for centuries to project our fears onto beings outside of ourselves,” she explained. “But I don’t think that works. I think everyone is, in some way, perverse, disgusting, terrible. Monstrous.”

She continued, “Monstrous people have always existed, but at certain times they’re more visible, more distinct. Like now, for example. I think of Jeffrey Epstein, I think of Dominique Pelicot.” Gyllenhaal emphasizes that “The Bride!” is not simply a wild adventure film, but also a commentary on violence and misogyny.

A Family Affair and Early Influences

Gyllenhaal’s connection to filmmaking runs deep. Her parents are both directors, and she and her younger brother, Jake Gyllenhaal, appeared in several of their productions growing up. She studied literature at Columbia University before pursuing acting. Her directorial debut came in 2021 with “The Lost Daughter,” a critically acclaimed adaptation of Elena Ferrante’s novel. She secured the rights to Ferrante’s work by writing directly to the author, a testament to her passion for the source material. You can read more about Gyllenhaal’s early career and family background on her Wikipedia page.

Navigating Violence and Representation

“The Bride!” doesn’t shy away from depicting violence, including sexual violence. Gyllenhaal stresses that every instance of such violence was carefully considered. “I think if you present sexual violence just in passing, you do it a disservice,” she stated. “I’ve portrayed the sexual violence with intensity to show the unbearable consequences of such violence.”

When asked if she believes there’s a distinctly female directorial perspective, Gyllenhaal offered a nuanced response. “I don’t actually know, and even if there is, I don’t think the categories are fixed. But I do experience being a woman in the world differently than a man does, and that certainly applies to the film world.” She recalled seeing Jane Campion’s “The Piano” as a pivotal moment, a film that resonated with her on a deeply personal level. “It just flowed into me like water,” she said, quoting a line from the film: “’I mentally shake hands with you for your answer, despite its inaccuracy.’ That’s the hottest thing I’ve ever read.”

What’s on the Horizon

Following the release of “The Bride!”, Gyllenhaal is expected to return to acting projects, though details remain unconfirmed. Her focus on complex characters and challenging narratives suggests she will continue to seek out roles that push boundaries and spark conversation. The success of “The Bride!” could also open doors for further adaptations of unconventional literary works, solidifying her position as a distinctive and thought-provoking voice in contemporary cinema.