At this point, Frankenstein has been talked about to death. It’s much like Dracula, done to death. However, we now have a new version of it on Netflix, and I wanted to take a look. This review is more of an exercise in writing, as I won’t simply say it’s good or bad; instead, I’ll try to think a little more about it.
First and foremost, Frankenstein doesn’t focus on a monster story in the traditional horror sense. Often, we get the notion that science has gone wrong, but that’s not what we get regarding this movie. Instead, we are presented with the idea of father and son, a battle between creation and the creator, told through two narratives. There’s a sense of abandonment, identity, and the director doesn’t make the creation a “monster” that has no depth. The novel does this well, making you figure out who the real monster is and whether the creation is not to blame, but rather a more personal effect to be discovered.
You cannot go through the movie without applauding the set design. I loved the costumes and the visual elements, all of which help bring the story beyond the pages of the book or the screen, for that matter. Del Toro lavishly works through a tactile visual design flow, bringing Gothic horror to a new level. There is a great deal of attention paid to the gore, to the creation, the science, and the medical elements as well. There are emotional wounds that are visually represented, and perhaps that is scarier than the story alone.
One thing that I wanted to emphasize, and something I saw immediately, is that this is not a traditional horror movie. In fact, Del Toro himself said that Frankenstein is not a horror movie. It’s not going to get you to that place; although it can be horrific at times, it is not played out that way. I agree with that, it didn’t hit me with the horror mallet. Instead, it hit me with a dramatic focus on emotional drama that happens to have elements of Gothic storytelling and horror. The pivot is interesting because audiences are probably expecting something familiar, but instead, we get a saturated drama that focuses on human emotion more than the traditional notion of horror. The drama prompts you to think about monsters in a different light, and rather than fearing them, we strive to understand them. That depth makes this an outstanding film that is worth watching.
Haven’t read the book? What are you waiting for? Buy “Frankenstein” here, then watch the movie on Netflix.
Before diving too far into the book Debbie Doesn’t Do It Anymore, it is essential to know that this is an “adult” book. It is not for teenagers, kids, or anyone not mature enough to handle explicit language, details, and ideas. Mosley doesn’t sugar coat anything and is as raw as ever in this exploration.
Debbie Dare is our main character and finds herself at a crossroads. She doesn’t want to be an adult film actress anymore; she wants to change. The change is brought forth because her husband is electrocuted while having a tryst with a teenage runaway. This shocking turn is enough to cause Dare to evaluate her life and what she wants to do next. Throughout the novel, we are treated to a story of what it is like to be true to oneself, what family thinks of decisions that aren’t always positive, and death in light of sex.
Whether you’re an adult who watches adult media or is not one to look at it, you’ll find that Mosley doesn’t glorify it. There is a critical eye to adult film, including aspects of commodification of the body, emotional detachment, and the transactional nature of sex work. He proposes a dehumanizing portrait of fame and sex in a context that is a bit shocking to those who aren’t ready to read about it. That is not to say that it is not warranted, or out of left field, as Mosley treats his subject with humanity, and Debbie’s movements forward are done with emotion and humanity.
Debbie Doesn’t Do It Anymore is a redemption song. The novel is about redemption in contrast to the adult film world, fame, fortune, and realities that come with being human in the underbelly of society. Debbie wants to leave behind her past, but is met with resistance from all corners, including transactions her husband made behind her back. Money is owed, favors are collected, and friendships are too complex to form without wanting something in return. Debbie struggles throughout, and Mosley does a good job in juxtaposing several emotional moments with the nature of sex and the toll of working in general. Remove the adult film moniker. There is a human story here, one that Mosley urgently tells.
Overall, Debbie Doesn’t Do It Anymore is not a long book. I found it to be enjoyable, albeit raw around every corner. Care is placed into the character, and while she can be callous at times, there’s rhyme and reason to what she is doing, which pays dividends throughout.
I do not recommend Debbie Doesn’t Do It Anymore by Walter Mosley to everyone. However, it is a strong novel of redemption, sex, and human nature that few people can relate to, unless you can read beyond the topic of sex.
You can buy, borrow, download, or locate a copy of Debbie Doesn’t Do It Anymore by clicking here.
There are a few books that I have read that are past the 1,000-page mark. Chances are, that you too have not ventured into a lot of reading that pushes that many pages. The closest literary work that comes to mind is The Holy Bible. Even that book, I have not read thoroughly, and I consider myself to be a Christian…of sorts.
Stephen King, prolific author, published “IT” in 1986, and it was his 22nd book overall. A lot has been said about the book and the movie adaptations, so this review will not cover new ground. However, as an avid reader and writer, I wanted to put my thoughts down into a compartmentalized review for the one reader who will probably venture to look at this page.
Let’s begin with the strength of “IT” and the mentioned characters. We are not facing a single character, but rather a group of characters in a group called the Losers’ Club. Each one is carefully written out with backstories and emotional connection points. You can blame the book’s length on the immense task of writing for each character and including their stories. Each story is drawn out, sometimes to nauseum, but it is essential to paint the broader picture of what the group will face off against in the latter parts of the book.
Alongside the backstories, there is a pendulum moving back and forth regarding the timeline. The timeline is not set linearly, as much as there are flashbacks, forward progress, and isolation points in the story. “IT” handles this by throwing you into the story from past to present, with character stories that draw from their life experiences as children and adults, but not all at once. There is a switch between children and adults, and it adds depth to the characters, as well as breathes life into the story arc on a larger scale.
Perhaps one of the greatest strengths of “IT” is the exploration of childhood trauma, memories, fear, loathing, and loss of innocence. This is juxtaposed in the back-and-forth storytelling that King positions throughout the narrative. Whether you’ve grown up isolated from a lot of trauma or you’ve experienced abuse of any kind, you will find that King writes as an expert in the field, painting pictures vividly of what it is like to pass through the fires of each theme. Beverly’s narrative touched me the most, especially when she was abused as an adult and had to escape the grip of her husband. Beverly’s abusive story arc hit home for me, and those who read it can attest to the realism that is placed in the way King draws the picture.
The characters themselves lend credence to a larger setting, the town. Derry becomes a character in the book in how it is positioned. The city, the people, the history, and the stories that are etched into the larger portrait tell a story of evil. “IT” is not for the children, as they say, and it showcases that through brutal moments, including gay bashing, sexual tension, abuse, and more. A paper could be written about the town of Derry as the centerpiece of the madness on its own, but it is another puzzle piece you must reflect on as you read. The characters must contend with the town as a character, setting, and overall organism.
Thus far, we have discussed talking points on a positive scale. I want to express that I loved the book, but some moments are not so appealing to the masses. You may have stumbled on this review, considered reading “IT”, and are on the fence. Well, let’s talk for a few moments about criticism.
The length of “IT” is well over 1,100 pages. That is not an exaggeration of any kind. Stephen King went to town writing, and the book will take you time to push through. That can be seen as a negative to some people and a positive to others. I, for one, found it to be of “epic” proportions, which is a personal opinion.
The content is graphic. I don’t think anyone expects anything less from Stephen King. There is a reason why he is the “king” of horror. Whatever critic you decide to read, or when you place yourself into the book, you will find a complexity or harshness to some of the story. The evils aren’t always supernatural either, albeit they aren’t pulled away, but it’s often the real world that is scary, especially the abuse that comes with “evil” as a moniker.
Fan of linear structure? Then you will not find this book to be pleasing in that regard. The book jumps around time line-wise, so if you wanted point A to point B to be a straight line, you are reading the wrong book. “IT” jumps from past, present, and way past and future all in the same breath. It is fast paced, mind you, but it still leaves the reader a bit disoriented, mainly due to the length. You spend so much time in one place that by the time you finish, you’re left trying to remember all the details that come with the past, and of course, the present. That is not a detriment to the story, but if you’re not a fan of jumping around, you will find that King pushes you around regarding time placement.
As stated earlier, there is not much that can be said about “IT” by Stephen King that hasn’t already been said. The book is long, no exaggeration there, and it is scary. However, the most terrifying parts of the book deal with the loss of innocence and the evil that people do, rather than the supernatural, as some may take it. I found myself tearing up at times with the realism of the abuse suffered by the characters, and cheering them on as they fight insurmountable odds. This is a beast of a book that demands your attention for more extended periods than most.
Haven’t read “IT”? Check it out from your local library for free, or click HERE to order a copy and have it delivered straight to your door. Remember, it’s a behemoth, and you’ve been warned.
