Do we learn how to be human? This is what Guillermo del Toro’s “Frankenstein” explores; It is the result of his over 30-year-long pursuit to adapt Mary Shelley’s classic novel. The influence of her original story is baked into his filmography — from “Pan’s Labyrinth” to “The Shape of Water,” many of his films feature sympathetic, grotesque monsters with kind eyes who beg the audience to question what makes a monster and what feelings are human.

This passion project is born of a deal del Toro signed with Netflix, which has resulted in his 2022 adaptation of “Pinocchio” as well as a limited horror series curated by the director. The streaming service gives him creative control, but his films only receive a limited theatrical release and are sent to streaming shortly after.

The film’s $120 million budget is more than evident. The 150-minute runtime is packed with practical set dressing and prop work. Dan Laustsen’s cinematography, paired with the swaths of intricate costumes, special effects and physical props, evokes the gloomy, gothic Romantic charm of the classic story. Alexandre Desplat’s score effectively pulls the audience into the emotions of each scene. Del Toro’s vision overflows the big screen; It’s unfortunate that most people will watch it on their TV or mobile device.

The chill of the Arctic sets the stage for the prologue, which takes its time introducing the main characters. The captain (Lars Mikkelsen) of a ship stuck in a vast body of ice commands his crew to pick at the freeze, insisting on reaching the North Pole at any cost. His crew finds Dr. Victor Frankenstein (Oscar Isaac) bleeding, battered and alone. With the introduction of Frankenstein, the creature (Jacob Elordi) follows, wreaking havoc on the crew, which, observing his stature, immediately starts an offensive. The captain observes the mayhem and wonders, “What manner of creature is that? What manner of devil made him?” 

The film revisits the captain in his quarters throughout, where he is engrossed in Frankenstein’s regaling, starting from his childhood. Del Toro displays an affection for the source material, preserving a version of Shelly’s framing structure that overtly juxtaposes Frankenstein’s life story against his unnamed creation’s. The choice to keep the creature unnamed both emphasizes his purity and Frankenstein’s brazen approach to his project. Victor’s ego is reliant on his creation succeeding, and he instills in this creature a devotion to him. Isaac depicts Victor’s attentive care turned disgusted disappointment with a bite that, paired with Elordi’s innocent confusion, makes the audience root for the creature right from his conception.

Victor’s obsessive nature is almost cartoonish; he evades foresight and acts on impulse, making the unsavory decision at almost every crossroad, though he is mildly charming when speaking of his passions. Isaac frenetically embodies Victor as a man of theory whose arrogance is punctuated by chugging milk (I counted five glasses). Del Toro elucidates how Frankenstein is a man who does all he can in pursuit of self-fulfillment with little remorse and no regard for consequences. Though not unlike the novel, del Toro’s major changes to the story would require Frankenstein to gain a level of emotional comprehension which his actions seldom show. Far more development is desired, which is disappointing after spending over an hour examining the titular character.

Isaac plays Frankenstein’s fits of discontent to properly convey an acute lack of self-awareness, fueled by an interesting philosophy around possession, feeling entitled to his work, to his brother’s fiancée Elizabeth (Mia Goth) and to his creation. Victor does little to nurture this new consciousness and is quick to lash out at him. When Elizabeth meets the creature and expresses sympathy for him, Victor doubles down on his cruelty. 

Goth’s Elizabeth provides much needed tonal shifts throughout the film. An educated woman, she does not have to prove her intelligence and instead expresses it through her friendship with Frankenstein, whom she shares intellectual pursuits with. Her proclivity for insects shows her regard for life no matter how small and explains her gentle approach to science, and by extension her brief relationship with the creature. Elizabeth is a surprising foil to Frankenstein, which makes the dual-casting of Mia Goth as both Elizabeth and Frankenstein’s mother a dubious commentary on the role of women as a man’s source of compassion and empathy.

The creature is depicted with anticipated care from del Toro. His bias towards the monster is obvious, gifting him more grace than Shelley did. Frankenstein’s creation is the heart of the story, displaying levels of empathy and care the doctor often dismisses. Del Toro has interspersed new instances of meaningful two-way communication, which abets his eloquence and sensitivity. Elordi’s creature is lovable and puppy-like, and the slivers of happiness del Toro wrote for the creature round the character out in a satisfying way. On the contrary, Victor is dissatisfied with most situations despite his fortunate dispositions, rendering any possible empathy toward him challenging. 

Del Toro expectedly emphasizes the madness that consumes the doctor and the injustice which the monster is dealt. But the film falls victim to an industry trend where acclaimed directors are given infinite resources for a passion project, yet editors aren’t given power to shape them. It’s clear Guillermo del Toro reveres Mary Shelley’s “Frankenstein”; he takes care blending Catholic, Romantic and fantastical iconography into a dark and whimsical viewing experience. Del Toro’s adaptation is faithful to the utmost degree, only making changes to exacerbate Frankenstein’s insanity or to humanize the monster. 

But this story is not read, it is viewed, and succinct, poignant filmmaking is a dying art. With the rise of streaming services, the audience always has the option to pause or step away, not daring them to be pulled in, to be present. Guillermo del Toro’s “Frankenstein” is a worthwhile investment if you can immerse yourself in it. 

Guillermo del Toro’s “Frankenstein” is now in limited release and opens in select Bay Area theaters on Oct. 24. Streaming release available on Netflix Nov. 7.