1957. Long having retired, James Whale, arguably most famous for directing Frankenstein (1931) and Bride of Frankenstein (1935) among some other 1930s horror classics, has burned his bridges with the Hollywood community in that they have abandoned him, the possible exception being his continuing friendship with former lover David Lewis. James had been openly gay even during his working period and is in declining health. Having been recently released from a hospital where he w... (Full plot summary below)
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1957. Long having retired, James Whale, arguably most famous for directing Frankenstein (1931) and Bride of Frankenstein (1935) among some other 1930s horror classics, has burned his bridges with the Hollywood community in that they have abandoned him, the possible exception being his continuing friendship with former lover David Lewis. James had been openly gay even during his working period and is in declining health. Having been recently released from a hospital where he was recuperating from a stroke, he left with some permanent health issues, the aftermath of the stroke. Much against the disapproval of his loyal longtime housekeeper Hanna, his health does not prevent him from toying with the handsome young men who may wander into his midst in his continuing homosexual desires, although Hanna is as much, if not more concerned about any of those young men taking advantage of him in his elderly and fragile state. The young man who catches his eye among the most recent is Clayton Boone, who Hanna had hired to do garden work around the property. Clay, an ex-marine from the proverbial "wrong side of the tracks", has no idea who James was or is before he starts this job. James and Clay soon begin a friendship of sorts. Clay is also unaware of James' homosexual orientation before such is confirmed by Hanna, an issue which threatens his masculinity, especially in light of the cracks showing in his casual sexual relationship with a slightly older and wiser diner waitress named Betty. Clay has to reconcile that threat against being in the company of someone whom he considers an interesting and once famous man. The friendship and his state of health related to the stroke lead James to reflect in a bittersweet vein on key points of his life, most notably serving in WWI, and as a result reveals his ulterior motives through the actions he takes toward Clay.
Leave your thoughts about Gods and Monsters.
| Portland OregonianShawn LevyAchieves its exquisite tension--deepening beautifully from a "Death in Venice" setup to an imaginative meditation, on art and life, of uncommon sensitivity. |
| rec.arts.movies.reviewsBob BloomThe whole thing ... might have fallen apart if not for McKellen, who makes Whale so fascinating that the film could have worked as a monologue. |
| Film Journal InternationalEd KelleherA richly textured movie that speculates about the last days of an iconic filmmaker while exploring the sometimes divine, sometimes monstrous landscape of obsession and desire. |
| Urban CinefileUrban Cinefile CriticsThis is a joy of a film, a throwback to the great human dramas of the Hollywood that made Hollywood; where movies for Everyman (even if dealing with not so-Every-man) were invented." |
| Time OutNick BradshawNot a complicated film, but warm and clever. |
| Mountain Xpress (Asheville, NC)Ken HankeIt may not be history, but what a glorious imagining it is. |
| San Francisco ExaminerBob StephensOne of the most complex and powerful literary scripts in recent times. |
| New York Daily NewsElizabeth WeitzmanIt has the most beautiful ending of any American film in years, a coda of reconciliation and remembrance set in a gentle L.A. rain. |
| Film.comPeter BrunetteChances are, the more you love classic cinema, the more you will find Gods is your cup of tea. |
| ReelTalk Movie ReviewsDonald J. LevitCatches a life and its relation to art. One imagines that James Whale would not have turned over in his grave in horror. |
