For nearly a century, The Bride of Frankenstein has left its iconic mark on the horror world. Widely considered one of the greatest sequels ever made, there’s no denying that there’s still more story to tell of the film’s titular character. With no speaking lines and only minutes of screen time, Elsa Lanchester brought the Bride to life; now Jessie Buckley fills those shoes. The Bride! stands as a rebellion against gendered violence, giving a voice to victims who can no longer speak. It’s messy while being bold and earnest throughout the chaos of its script.
It’s the 1930s in Chicago, and the nightlife of the city is alive and well. Beautiful women in their silk dresses and men in their tailored suits get their fill of alcohol and oysters. One woman stands out from the rest with her pale skin and nearly bleached-white hair. Ida (Jessie Buckley), later the Bride, is a formidable woman with a fiery personality that is admirable for a woman in the ’30s—a woman from the mind of Mary Shelley herself. But as much as her eccentricities are refreshing, they are also her downfall. One moment she’s kissing another knockout woman at a table full of indulgences; the next, she’s falling down a flight of stairs at the hands of a man. And, unfortunately for her, Frank (Christian Bale) and his newfound physician friend, Dr. Euphronious (Annette Bening), are in the market for some fresh meat.
Much like the 1935 film, The Bride! has its titular character being brought back to life for companionship. While also interjecting with Mary Shelley (Jessie Buckley) at times in black and white, like a riddle giver to Ida and later the Bride to help her find herself. Frank has long been alone, and he admits that the longer he goes without company, the meaner he gets. Snapping at Dr. Euphronious as he begs her to make him a partner, he can not only feel connected to her through their un-death, but one he can have a future with. But unlike Frank, Ida—or the Bride, as she is known after her reanimation—isn’t sewn together as an amalgamation of random body parts. Her mind and her body are the same as they were before death; the only missing piece is her memories. She has a fresh start in front of her, and she hits the ground running.
Although the process of her reinvigoration is sped through, it highlights issues women during this time have to face: the lack of choice and the violence on the receiving end of saying “no.” While she might not have much life experience yet, her first moments with Frank and Dr. Euphronious are filled with her telling them she prefers not to do what they ask. Instead, she wants to do what she chooses—going out to movies, which delights the cinephile in Frank, and dancing unabashedly with strangers. She is none the wiser about her backstory, and believes whatever is laid out in front of her from Frank. Their relationship blooms, but it doesn’t go unnoticed, with their shenanigans earning them a reputation as the monster versions of Bonnie and Clyde.
Writer and director Maggie Gyllenhaal takes big swings with The Bride!, with some landing and others missing the mark. What she does well is establish its main characters and their motivations as unique to them. Her version of the Bride becomes a beacon of hope for women, an inspiration to fight back. Rather than being written for a solely romantic purpose, she gives her choices within her new life that she wasn’t afforded before. Gyllenhaal has her expressing her rage, her instability, and her sexual desires out in the open. She not only wants to have sexual experiences, but initiates them, putting consent directly in her hands. Yet it doesn’t completely feel as though audiences truly know who this woman is—or was—with some of the connective tissue of her story falling to the side, only to be touched on much too late.
A lot is going on in The Bride!; it’s no doubt overflowing with ideas and themes that are important. There are mob bosses, crooked cops, and women being killed in similar ways around the city. But many of them are brushed over quickly, especially when Gyllenhaal introduces Det. Jake Wiles (Peter Sarsgaard) and his secretary, Myrna Mallow (Penélope Cruz). Both are working to find the monster duo as they travel across the country on their crime spree. Myrna represents the working woman in the ’30s, and often her work is attributed to Jake. Their working relationship leans more into humor, and it overshadows the moments when Myrna really gets to shine. Although their storylines eventually intersect with Frank and the Bride, the time spent with them feels wasted in the long run. Especially with Jake, a large chunk of his background with Ida/the Bride feels weightless, to the point where its inclusion is more like an afterthought.
While Gyllenhaal’s writing is the film’s weak spot, The Bride! doesn’t let that stop it from being an electric experience. Buckley gives another impassioned performance, playing three roles with Ida, the Bride, and Mary Shelley, sometimes having to switch between them in a matter of seconds between words. At first it’s jarring, and even a bit confusing, but she plays a woman possessed by the choices others made for her well. She’s a revelation to watch, especially when paired with Bale’s more romantic and vulnerable Frank. He’s a lover through and through, whether for his passion for movies or his yearning for a partner. Bening, as a mad scientist, doesn’t get a lot of screen time, but she adds a layer of subtle whackiness to provide levity to gruesome acts.
From the first moments of The Bride!, the visual language is felt immediately; its dark and gritty backdrop for the majority of the film helps this duo pop off the screen. There’s a deep love felt for Old Hollywood in the costuming by Sandy Powell, with a punk twist. The silhouettes are similar, but the colors are loud and bold, especially the bright orange dress Ida/the Bride wears for the majority of the film, often showing her clothing becoming more disheveled as the film progresses. Each person has a Gothic flair, while Frank tries his best to imitate the style of the movie stars he admires, keeping his face hidden with big collars and masks. Captured through the lens of cinematographer Lawrence Sher, the film bottles its energy and reflects it best during surreal song and dance sequences that use pops of color to show how alive the Bride feels.
The Bride! will either work for you, or it won’t. Where the film lacks a coherent, streamlined story, it makes up for it with performances and visual allure. Buckley does the character immense justice and gives her autonomy that she hadn’t had before. Loose story connections and dull pacing are frustrating but not a total deal breaker. For those looking for a wild ride through the ’30s, hop in and hold tight—because here comes The Bride!
