The story kicks off in a wonderfully atmospheric 1930s Chicago. We follow Frank - that’s Frankenstein to you and me - played by Chris Bale (The Dark Knight) with a brooding, soulful melancholy. He’s a lonely man who has lived far too long with his sadness, wandering the fringes of a world that doesn’t want him. Desperate for a companion, he tracks down the brilliant 'Mad Scientist' Dr Euphronius, played with icy aplomb by Annette Bening (American Beauty).
In a sequence that pays homage to Bride of Frankenstein (1935), Euphronius agrees to build him a partner. In a lab defined by domed glass and a dangerous overdose of electricity, they reanimate Ida, a recently deceased young woman. But what emerges from the slab isn't just a compliant companion. No, Ida is reborn as Penelope and Jessie Buckley (Hamnet, Fingernails) plays her as an anarchic force to be reckoned with. She remembers little of her past life, but she has clearly retained all of her fire.
The film then takes an unexpected turn when Frank and Penelope hit the road. This isn't just a scenic drive, they are on the run after the pair of them kill a couple of blokes who attempted to rape her. It’s a brutal scene, so watch out for that, that shifts the movie’s gear entirely. Their journey quickly evolves into a 1930s road trip fueled by violence, sacrifice and a twisted, genuine love.
At this point, the film becomes very Bonnie & Clyde, but with a feminist edge. Like that famous outlaw duo, Frank and Penny's exploits trigger a massive social movement. Across the country, we see scenes of women painting their faces in Penelope’s punk-rock image, sparking a wave of anarchy that threatens the very foundations of the era's polite society. It’s a bold creative choice that makes the movie feel incredibly modern despite its vintage setting.
Hot on their heels are two detectives, Jake Wiles (Peter Sarsgaard) and Myrna Malloy (Penélope Cruz). Ronnie Reed (played by Maggie’s brother, Jake Gyllenhaal) is in the mix too, and the family connections behind the scenes clearly translate to a chemistry that feels real. However, they are often outshone by the luminous Cruz! At 51, she remains absolutely amazing on screen, but it’s her comic timing as Myrna that really steals her scenes. She brings a quirky, sharp-witted energy to the detective hunt that provides a much-needed balance to the darker, more violent themes of the film.
While the main six actors are all performing well, Jessie Buckley is the film’s undisputed talent. Her transition from the tragic, broken Ida to the awakening, rebellious Penelope - and even popping up as Mary Shelley herself - is flawless. She manages to be terrifying, vulnerable and very funny all at once. It’s a physical performance that deserves way more credit than the critics are giving it.
Visually, The Bride! is an absolute feast too. The cinematography captures the grit and the glamour of 1930s America perfectly. From the period-accurate vehicles to the wardrobe, the production design is immersive. Perhaps the biggest surprise, though, is the soundtrack. The music features hauntingly beautiful singing and tracks that perfectly underscore the film’s shifts from moving and sad to outright hilarious. A special nod must go to Jake Gyllenhaal, who contributes to the music of the film. I had no idea he was a musician and his input adds a layer to the film’s unique punk-rock-meets-period-piece vibe!
So yes, I simply don't understand why the critical reaction leans toward such harsh detraction. To me, it's a greatly creative, moving work that dares to do something different. It’s funny when it needs to be, heartbreaking when it counts and visually stunning throughout. Gyllenhaal hasn’t just remade a monster movie - I reckon she's smartly offered us a story about the female struggle for position in a male-dominated world and nicely picked apart the 'mess' of being made-by-others! Don’t listen to the naysayers - this is a road trip worth taking and accessible now in the UK without a cinema visit too.
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