The Bride! Review
It feels like there’s a creature-feature renaissance in movies going on with what’s recently released. More specifically, there seems to be a particular focus on classic horror movie monsters. Just a few weeks ago, audiences got adjusted to Luc Besson’s Dracula, but no monster seems to terrify more than Frankenstein. One version of Mary Shelley’s towering abomination previously hit theaters in Guillermo del Toro’s Frankenstein to much fanfare. However, Maggie Gyllenhaal does something different with Shelley’s lore by bringing his wife into a unique world that questions societal configurations through The Bride!
The Bride! is completely different from what readers know about Frankenstein’s grotesque family. Although the bizarre, death-defying origins of the Bride (Jessie Buckley) remain the same, she’s put into an entirely new environment. Unlike the gothic castles and forests of old, the Bride and Frankenstein’s Monster (Christian Bale) are thrown into the polluted streets of 1930s Chicago. The Bride, who is actually affiliated with the mob, forgets her memories, to which the Monster uses to shape her in his own image. However, when things escalate between the two, they find themselves from cops, gangsters, and everything in between.
If there’s one thing that makes The Bride! stand out, it’s that it very much feels like an experiment of its own. What Gyllenhaal brings to the screen is a cascading pyramid of multiple genres, combining the traditions and tropes of horror, noir, romance, and much more. The blend of these genres makes the viewer feel uneasy by not making everything as it seems, somewhat overshadowing the dread of being caught. Specifically, what Gyllenhaal decides to do is show the psychological process that both of these characters are going through.
In terms of the Monster, he envisions himself as being someone to be adored rather than reviled, looking up to enigmatic actor Ronnie Reed (Jake Gyllenhaal). In a few scenes, he goes from being in the background of these black-and-white films to literally taking Ronnie’s place, signifying this even more. However, he also wants to be personally beloved by a companion after being alone for so long, which leads him to the first few scenes with Dr. Euphronious (Annette Bening). Although this entire first opening portion does help in building his character, Bale’s performance later on teeters between being sympathetic and being raucous and crude, which may prove to be uncomfortable.
That said, the Bride is still the core of this film as the title makes that very clear. Jessie Buckley puts on an impressively chaotic performance, emphasizing the psychological fracturing that she goes through. What’s perhaps the most intriguing element of the Bride’s character is that she has these two conflicting personalities that often clash. On one side, there’s Ida, this innocent, if confused, Chicago-an who’s simply trying to put the pieces together because she’s forgotten who she is. She’s not powerless, but rather, she’s been conditioned by the many men she’s come across and manipulated to keep quiet. The other personality is a completely opposite character and that is none other than Mary Shelley herself.
How Maggie Gyllenhaal displays Mary Shelley is quite ambitious for a film that’s rooted in the ideas of the feminist revolution. To put it in simple psychological terms, Mary is the “id” to Ida’s “ego”, which is a primal, untethered personality that seeks total empowerment by breaking through the shell that is Ida. The way that the film explores the dynamic between the two personalities is also unique as Mary is only physically seen in these dim, black-and-white dreamscapes. However, she often breaks through when the Bride is confronted by heated situations, whether that be men physically assaulting her or being at the center of a shoot-out. Those moments where Mary comes through allows Buckley to go all out physically, giving the Bride this aura of possession that truly strikes fear into the viewer.
Although The Bride! likes to visually present its thematic ideas in a supernatural way, it may leave some viewers confused. Initially, audiences are meant to believe that Mary is simply a part of the Bride’s psyche and the Monster’s visions of the silver screen are just that. Yet, the cinematography and some narrative choices do suggest otherwise, whether those clues appear as small as a broken light to something more apparent like the characters noticing the narration. These slight fourth wall breaks might make some believe that Mary’s some kind of god in this world or the Monster and the Bride have enhanced abilities. While it’s understandable why Gyllenhaal would make these creative choices, a better defined opening act would have cleared things up.
Even though these uncanny elements of The Bride! may make audiences question what they’ve seen, there’s one thing that’s not in doubt: the theme of feminism. Although this is mainly explored through the Bride’s character, there’s another character that is utilized: secretary Myrna (Penélope Cruz). Working alongside Detective Wiles (Peter Sarsgaard), Myrna’s arc dives deep into what it’s like to be held back professionally rather than personally as she tries to win over Wiles. However, unlike the tragedy of the Bride, there’s a slight optimism that shows hope for Myrna’s dream once she gets more involved.
Yet, the Bride’s actions, particularly in one heavy-handed second act confrontation, serve as this catalyst for a larger, hands-on movement for women who have been mistreated. Much like the psychological breakdown of the Bride, all of this harkens the early days of that movement, which is meant to vindicate that character-driven moment. Although there is some resolution to this, it’s quite brief as it only appears in a montage until the ending scenes. Still though, Gyllenhaal’s attempt to explore these themes shows some confidence, but is carrying the weight of the romance.
Maggie Gyllenhaal’s The Bride! proves to be a creatively and thematically ambitious noir film that’s elevated by Jessie Buckley’s insane and cathartic performance. It’s a respectable tribute to the lore of Frankenstein and the classic story that so many readers love.
The Bride! releases in theaters on March 6.
Rating: ★★★½
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Christopher Gallardo is a freelance entertainment writer and critic. While not running The Reel Roller, Chris can be found writing reviews and breakdowns on all things films and TV. Outside of entertainment writing, he’s currently taking classes for a Bachelor’s of Science with a minor in Digital Media & Journalism. Plus, he loves Percy Jackson, animated films and shows, and Fallout! Follow Christopher on Instagram & X.