We're delving into pivotal plot twists and the conclusion of “Lisa Frankenstein” (now showing in theaters), so exercise caution if you're yet to experience it.
“Lisa Frankenstein” injects a gothic 1980s flair into Mary Shelley’s “Frankenstein” narrative, entwining elements of youthful romance, relentless mayhem, reattached limbs, malfunctioning tanning apparatus, and an ostensibly happy ending. (Or so it seems, depending on your perspective.)
Penned by Academy Award winner Diablo Cody, this horror-comedy follows societal outcast Lisa Swallows (portrayed by Kathryn Newton) as she encounters her ideal match, a Victorian-era cadaver (played by Cole Sprouse) who emerges from his grave missing vital body parts. (Lisa's whispered words, “I long to be by your side,” at his tombstone, coupled with a well-timed lightning strike, catalyze a whimsical yet eerie romantic spell.)
She tends to his needs, blossoming in confidence, while he embarks on a murderous spree – dispatching individuals including Lisa’s malevolent stepmother (Carla Gugino), her overly familiar lab partner, and her crush from high school literary magazine. Employing the aforementioned malfunctioning tanning device, which administers a fatal electric shock upon entry, they undertake a much-needed makeover involving a new ear, hand, and, yes, a male reproductive organ.
Lisa discovers affection amidst this unconventional partnership but faces dire consequences. Following her intimate encounter with her undead paramour – and with law enforcement hot on her trail due to the string of homicides – Lisa resolves to fulfill her initial desire and join her beloved in eternal rest. She steps into the tanning booth, cranking it to the “Max Bronze” setting, sealing her fate and igniting the shed in the process.
At Lisa's graveside, her father (Joe Chrest) and traumatized stepsister Taffy (Liza Soberano) mourn her loss, bewildered by the puzzling inscription "beloved wife" on her tombstone. The scene shifts abruptly to a park bench, where the Creature, now impeccably groomed and appearing wholly human, recites verses from Percy Bysshe Shelley's poetry – specifically "To Mary," an ode to his spouse – while a bandaged Lisa listens in silence.
According to Cody, the film “inevitably concludes with Lisa's demise.” “Given the narrative trajectory,” Cody elaborates, “there was no plausible route to absolve Lisa and restore her to the realm of the living. I envisioned her self-immolation in the tanning booth.”
However, Cody discloses that the original ending for “Lisa Frankenstein” deviated slightly: Initially, the closing scenes depicted another young individual tending to Lisa's grave, assuming the same role Lisa once held with the Creature. “I hinted at this ongoing cycle of mourning and resurrection,” Cody remarks.
Director Zelda Williams, however, proposed an alternative finale, believing audiences “would yearn to witness Lisa and the Creature reunited.” Cody reminisces, “She conceived the poignant notion of having him recite the poem.”
The question of whether Lisa and the Creature find their happily-ever-after in the mortal realm or the afterlife remains open to interpretation. “I relish the allure of ambiguity. It sparks captivating discussions about cinema,” Cody reflects.