Review: Mary Shelley
Mary Shelley begins with a perfect image of its title character scribbling in her notebook at her mother's gravesite. That the then 16-year-old would, in two years' time, become the author of one of the most enduring literary classics and withstand scandal, tragedies and ostracisation is impressive by any standards - even more so given societal constraints for women at the time - but not necessarily surprising considering her DNA.
Her mother, who died 10 days after giving birth to her, was forward-thinking feminist Mary Wollestonecract; her father William Godwin (Stephen Dillane), a renowned political philosopher and novelist who raised her in a home filled with radical thinkers, poets, philosophers, and writers. Much of Godwin's zeal has been neutered by the constant debt collectors at his door and, most significantly for his daughter, a wife (Joanne Froggatt) that rules the household with an iron fist. Yet he can see how Mary's bridling against the suffocating nature of her life is preventing her talent from blossoming. "You need to find your own voice," he tells her, deciding to send her to Scotland to stay with his friend and fellow radical and his young daughter (Maisie Williams) whom Mary quickly befriends.
It is at her host's home that she meets smouldering rebel poet Percy Bysshe Shelley (Douglas Booth), with whom she shares her hope of someday writing a work that "curdles the blood and quickens the beatings of the heart." Their ensuing relationship is arguably the most compelling portion of the film. Shelley was married with child at the time and Mary's decision to run away with him (with stepsister Claire, played by Bel Powley, in tow) put a huge blight on her reputation and her standing with her father, who promptly disowned her. Their nontraditional living situation presents screenwriter Emma Jensen with ample opportunity to explore the freewheeling mores of these radical romantics. It's evident that Mary was a free thinker but she makes it clear to the often thoughtless Percy that, whilst she espouses all ways of living, he is the only man for her. He, on the other hand, has no intention of curbing his wayward ways, and one can see how Mary's increasing disgust and disappointment with the men in her life provides the emotional lynchpin of Frankenstein.
There's a great deal of good in Mary Shelley: it is lovely to look at and its observations on gender politics are frequently compelling. Elle Fanning delivers a performance that conveys Mary's strength, intelligence and vulnerability. Yet Mary Shelley never rises above the standard biopic fare. There's something that feels unresolved - the last half hour, which finally tracks the creation of Frankenstein and the subsequent questions of its authorship, feels more of an afterthought with Jensen's dialogue devolving into a risible clunkiness.
Mary Shelley
Directed by: Haifaa al-Mansour
Written by: Emma Jensen, Haifaa al-Mansour
Starring: Elle Fanning, Douglas Booth, Bel Powley, Ben Hardy, Tom Sturridge, Maisie Williams, Stephen Dillane, Joanne Froggatt
