By Laura McCarthy.
Like Dr Frankenstein, directors like Maggie Gyllenhaal, Guillermo del Toro, and Emerald Fennel are sparking new life into the Victorian Gothic… even if they should leave well enough alone.
We are to be blessed (or burdened) with a burst of new releases retelling classics: Wuthering Heights, Frankenstein, and The Bride!.
Additionally, Johnny Depp is involved in a graphic novel project with Ridley Scott, entitled Hyde. All this after we’ve just received two adaptations of Dracula in Eggers’ Nosferatu and Besson’s Dracula: A Love Tale. Oh, these children of the night… what music they make! We are drowning in the Victorian Gothic – but not everyone is happy about it.
Emerald Fennel has received the worst of the public’s reaction due to readers’ dissatisfaction with the accuracy of her version of Wuthering Heights, partly down to the inaccurate costuming and the sexualised nature of her retelling, but also because of the white-washing of Heathcliff’s ‘dark-skinned’ character (now portrayed by Jacob Elordi). Fennel has unashamedly updated the original text, bringing Charlie XCX on board for the soundtrack and casting Barbie’s Margot Robbie as Catherine – a beautiful, talented actress but decidedly ‘un-Victorian’ in her appearance.
Ironically, by making changes which have infuriated audiences, Fennel’s work is more like the original text than expected, both having brought moral outrage from the public upon their release.
After her work on more modern narratives in Saltburn and Promising Young Woman, Fennel broaches new ground by diving deep into the past. An interesting contrast for someone who so clearly concerns herself with topical issues, such as social class and the mistreatment of women in contemporary society.
So, why Wuthering Heights?
Well, the original text does tackle the issue of social class, with it being a key reason for the separation of Heathcliff and Catherine, and that may well appeal to her if we are to consider her work on Saltburn. However, I think there is a whole other angle here which appeals both to Fennel and wider audiences; the destructive and tumultuous romance between the two leads speaks to modern heterosexual dating frustrations.
For men, many are worried post #metoo about being misconstrued as predatory or creepy if approaching a woman for a date. Meanwhile, women are fearful of men’s reactions, concerned that they will become victims of abuse. Just like Catherine, women are perceived as leading men on and, just like Heathcliff, men are seen as aggressive, possessive, and violent. With almost 60% of single Americans not looking for a relationship, many people have decided that romance just isn’t worth the trouble.
On a different note, Johnny Depp has taken on the role of Mr Hyde in Ridley Scott’s visual graphic novel Hyde, which will be using animation and live performance to retell Robert Louis-Stevenson’s novella Strange Case of Dr Jekyll and Mr Hyde.
Again, this choice of text is as relevant to us as it ever was in the Victorian era. Back in 1886, the novella reflected Christian fears of transgression, of using science to put oneself above the power of God; when Dr Jekyll makes and takes his potion, he commits a sin which splits his character, personifying the shameful, animalistic dark-side so many Victorians sought to hide from others (in the suitably named Mr Hyde). By centering Hyde, rather than Jekyll, in the remake, Ridley Scott speaks to our fears of the monster unleashed. No longer ashamed or hiding from their crimes, the monstrous is free to wreak havoc.
In a world where fascist beliefs seem to be more openly expressed, where Trump can be president again after…everything, and Farage can shove his own mistakes onto the more vulnerable, this text reflects the concerns of the left.
Let’s also discuss the remakes of Frankenstein and The Bride!.
That’s not just one but two adaptations of Shelley’s tale, both involving characters who’ve been brought back to life, only to face hardship for what they are. In this respect, the parallels between this classic narrative and the refugee experience are hard to ignore. Characters are given a second life, a different life from before, a new life – much like the refugee starting again in an unfamiliar place. Moreover, when brought back to life, they are perceived as grotesque, threatening, and alien, reflecting the racist views many refugees are assaulted with just for existing.
As such, these films relate to our current fears and attitudes around immigration. Like in Frankenstein, the so-called ‘monster’ is not the real monster at all.
All of this may make you wonder why the market is oversaturated with the Victorian Gothic. Surely, we can tell our own stories which present these thoughts and worries?
Firstly, the Gothic is a suitable genre when it comes to showcasing fears and discomfort, whilst also embracing or celebrating that which appears different or unusual. As for the Victorian revival, I question whether filmmakers have subconsciously gravitated towards these texts because they feel like society is slipping backwards in time, falling into a wormhole. With more people seeming confident to publicly voice discriminatory beliefs, it does feel as though we are undoing progress, going back to a time of division and intolerance.
There’s also a positive read on this, though. Because, let’s be real, the Victorian Gothic is just so damn cool. Can you really beat media bursting with haunting creatures and exquisite, dramatic settings, dripping with atmosphere? Certainly not.
For when we embrace the Gothic, we find ourselves “in a sea of wonders”.
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