Unraveling Guillermo del Toro's 'Frankenstein': The Dual Roles and Subliminal Clues

Guillermo del Toro's recent adaptation of 'Frankenstein,' now available on Netflix, employs a fascinating directorial decision by having Mia Goth undertake a dual performance, embodying both Victor Frankenstein's mother, Baroness Claire Frankenstein, and his romantic interest, Lady Elizabeth Harlander. This creative choice is not merely an artistic flourish but a pivotal element designed to underscore Victor's deeply rooted psychological state of arrested development. Despite his genius, Victor remains metaphorically a child, emotionally tied to his mother. This complex dynamic is intricately woven into the film's visual fabric, with costume designer Kate Hawley and prosthetic makeup artist Mike Hill meticulously crafting distinct looks that, despite their differences, collectively illuminate Victor's internal struggles. The film's aesthetic details, from rich color palettes to subtle facial alterations, guide the audience in understanding the profound Freudian undercurrents driving the narrative, even if they don't immediately recognize Goth's dual portrayal.

A primary method for distinguishing Mia Goth's two characters lies in their costume designs, meticulously crafted by Kate Hawley. Baroness Claire Frankenstein, Victor's mother, is predominantly adorned in deep, pigeon-blood red, a hue chosen by Guillermo del Toro himself. This striking color is not confined to Claire's attire; it permeates Victor's world, appearing in his clothing and even his home decor, serving as a constant visual reminder of his mother's pervasive influence and his unspoken fixation. Hawley notes that Claire is depicted as an almost ethereal, dream-like figure, rather than a nurturing presence, further emphasizing her symbolic rather than practical role in Victor's life. This deliberate use of red underscores the Freudian concept of a strong maternal bond and its psychological ramifications for Victor.

Conversely, Lady Elizabeth Harlander, Victor's fiancée and sister-in-law, is presented with a distinct visual identity rooted in nature. Her gowns feature shades of green, often with iridescent qualities reminiscent of beetles and the intricate patterns found in malachite crystals. Hawley designed these costumes to evoke the wonder of the natural world, reflecting Elizabeth's character. These contrasting color schemes — Claire's commanding red versus Elizabeth's organic greens — serve as powerful, albeit subliminal, clues to the audience, highlighting the distinct roles each woman plays in Victor's psyche. The visual language extends beyond mere aesthetics, subtly reinforcing the narrative's exploration of Victor's complex emotional landscape and his inability to fully detach from his maternal figure, even as he seeks connection elsewhere.

Beyond the evocative use of color in costuming, another key element in Mia Goth's dual portrayal is the innovative prosthetic makeup. Mike Hill, the head of prosthetic makeup effects, created a custom prosthetic for Goth when she embodied Baroness Claire Frankenstein. This specialized piece included a sculpted forehead and nose, designed to mirror the facial features of Oscar Isaac, who plays Victor. This intricate detail was intentionally implemented to subtly forge a familial resemblance, reinforcing the mother-son connection on a visual level. Hill expresses particular pride in this challenging work, noting that many viewers remain unaware that Goth is playing both roles, a testament to the effectiveness of the prosthetics in creating two convincingly distinct appearances. This meticulous attention to detail ensures that the film's psychological themes are communicated not only through dialogue and plot but also through the very physicality of its characters, deepening the audience's engagement with Victor's complex journey.

Ultimately, whether an audience consciously perceives Mia Goth's dual performance or not, 'Frankenstein' is replete with visual cues that profoundly illuminate Victor's profound attachment to his mother. These deliberate choices in costume, color, and prosthetic makeup are not just stylistic flourishes; they are integral to del Toro's storytelling, suggesting that Victor's complex relationship with his maternal figure extends far beyond simple filial affection. These underlying psychological dynamics, hinted at through every frame, provide a richer context for understanding the narrative's more unsettling developments and Victor's often-disturbing motivations, anchoring the classic tale in a deeper, more Freudian interpretation.