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One of the main themes in the book is the idea of a happy and united family being destroyed when VictorвЂ™s mother dies of scarlet fever after nursing her adopted daughter, Elizabeth, through it. What changes did you ask for?Д«RANAGH: I asked him to include all those events and characters in Mary ShelleyвЂ™s novel that hadnвЂ™t been together in the film. HamletвЂ™s whole story is a philosophical preparation for death VictorвЂ™s is an intellectual refusal to accept it.ДЇULLER: You had Frank Darabont revise the original script. Hamlet and Victor Frankenstein are each obsessed with death. It was sent to me as I was rehearsing a production of Hamlet, and it seemed to me that the two things were linked. It appeals to something very primal, but itвЂ™s also about profound things, the very nature of life and death and birth-about, essentially, a man who is resisting the most irresistible fact of all, that we will be shuffling off this mortal coil. Frankenstein feels like an ancient tale, the kind of traditional story that appears in many other forms. Somebody else suggested you.вЂќ Certainly, at this end of things, IвЂ™ve noticed that the subject has a Shakespearean scope and grandeur.

I was too nervous to, in case he said, вЂњIвЂ™d never heard of you. KENNETH BRANAGH: I never asked him, actually. GRAHAM FULLER: Why do you think that Francis Coppola approached you to direct this version of Frankenstein? Do you think he sensed that your appreciation of the mythic resonances in Shakespeare would lend itself to the Frankenstein myth? Branagh himself plays Victor Frankenstein, Robert De Niro is his equally tortured Creature, and Helena Bonham Carter is Elizabeth, love object of gothic cinemaвЂ™s most infernal Oedipal triangle. Shelley at the Villa Diodati, near Geneva, in June 1816, he may still prove a powerful visual stylist. If Branagh has adhered to the spirit of Frank DarabontвЂ™s florid but genuinely chilling screenplay, the most faithful adaptation yet of the Romantic masterpiece conceived by Mrs. BranaghвЂ™s four previous films as director have not distinguished him as any kind of auteur, yet maybe Hollywood prefers a tenacious jack-of-all-genres: Henry V (1989) is a gripping war film, PeterвЂ™s Friends (1992) a warming English Big Chill, and Much Ado About Nothing (1993) a lissome summer romp only BranaghвЂ™s Hitchcock homage, Dead Again (1991) has suggested that this unstoppable Renaissance man might have been better off sticking to the boards. Kenneth Branagh might seem like an unlikely choice to helm Francis CoppolaвЂ™s $44 million production of Mary ShelleyвЂ™s Frankenstein, companion piece to CoppolaвЂ™s own Bram StokerвЂ™s Dracula (1992).

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