How close is Guillermo del Toro’s Frankenstein on Netflix to Mary Shelley’s classic? Here are the differences

For filmmaker Guillermo del Toro, Mary Shelley’s Frankenstein has always been more than just a gothic novel — it’s been, as he once said, “his Bible.” Now, the Oscar-winning director behind The Shape of Water and Pan’s Labyrinth has finally brought his most cherished story to life, with his own interpretation of Frankenstein now streaming on Netflix.

The film stars Oscar Isaac as Victor Frankenstein, the brilliant but tormented scientist, and Jacob Elordi as the Creature — a sensitive, tragic figure who is far more human than monster. Rounding out the cast is Mia Goth, who plays Elizabeth, a reimagined version of the character who, in this retelling, is far from the passive romantic interest seen in most adaptations.

A story retold through emotion, not science

Mary Shelley’s 1818 novel has inspired countless film versions over the decades — from James Whale’s iconic 1931 classic with Boris Karloff’s green, bolt-necked monster, to Kenneth Branagh’s more faithful 1994 adaptation Mary Shelley’s Frankenstein.

But del Toro’s film takes a different route. As he told Variety earlier this year, “The usual discourse of Frankenstein has to do with science gone awry. But for me, it’s about the human spirit. It’s not a cautionary tale — it’s about forgiveness, understanding, and the importance of listening to each other.”

This emotional approach sets the tone for del Toro’s version — a film less about the dangers of playing God and more about empathy, shame, and redemption.

“Less about hubris, more about shame”

To understand how del Toro’s take differs from Shelley’s original, Variety spoke to Julie Carlson, professor of English at the University of California, Santa Barbara, and an expert on the British Romantic period.

“I did feel there was real love for the book and for Mary Shelley’s brilliance,” Carlson said. “It’s more faithful to the way Victor and the Creature tell their own stories."

One of del Toro’s most striking choices is adding a new backstory — Victor’s father is portrayed as an abusive physician who may have sacrificed his wife for scientific experimentation. This shift, Carlson said, changes the emotional core of the film:

“It’s less about hubris and more about shame. The father’s violence mirrors Victor’s frustration with his creation. It becomes a story about failure, trauma, and the need to outdo one’s parents.”

Elizabeth, rewritten for a new age

Del Toro also takes major liberties with Elizabeth, turning her into a scientist and entomologist — a far cry from the gentle fiancée of the book.

“In the novel, Elizabeth doesn’t have much agency. Here, she’s independent, intelligent, and calls Victor out on his self-delusion,” Carlson noted. “It’s actually rooted in the text — there’s a line where Victor describes her as ‘playful as an insect,’ and del Toro transforms that into her scientific passion.”

Elizabeth’s interactions with the Creature — which never occur in Shelley’s version — add a new layer of empathy. In del Toro’s world, she is the only one who shows the Creature kindness, and even sacrifices herself for him.

“She identifies with him,” Carlson explained. “It’s not about romance — it’s about connection. Both are outsiders in their own way. It softens the patriarchal lens of the book, without erasing it.”

The Creature, redefined

Unlike the monstrous versions of Frankenstein’s Creature we’ve seen before, del Toro’s version is one of the most human yet. He’s intelligent, articulate, and deeply emotional — evoking sympathy rather than fear.

“I really like that he humanizes the Creature,” Carlson said. “It’s about face-to-face communication — when you truly see the other, you can’t murder them. Shelley was already thinking about that at 19.”

In this retelling, the Creature’s interactions with the blind De Lacey family — a section often skipped in film adaptations — are restored, bringing back one of the novel’s most moving arcs. “It’s one of the most faithful parts,” Carlson added. “Del Toro really leans into friendship as a form of redemption.”

Not horror — but humanity

While Frankenstein is often remembered as a horror story, del Toro’s version is closer to gothic poetry — melancholy, philosophical, and ultimately tender.

“It’s not really a horror film,” Carlson said. “It’s gothic, yes — but it’s about many things: shame, empathy, the bonds we fail to nurture. It’s also a tribute not just to Shelley’s book, but to her entire circle — Percy Shelley, Lord Byron, all of them.”

For del Toro, this film seems to be a culmination of his lifelong fascination with monsters — not as villains, but as mirrors. As his The Shape of Water proved, his monsters often have more heart than humans. His Frankenstein follows that same lineage, turning a centuries-old tale into something intimate and profoundly humane.

Guillermo del Toro’s Frankenstein released on Netflix on November 7.