Academy Awards 1998 -
Best Adapted Screenplay: Bill Condon
Rolling Stone - 11/12/1998
"...McKellan gives the performance of his career..."
Sight and Sound - 03/??/1999
"...A funny, darkening portrait of James Whale, the director of 'Frankenstein' brings this neglected auteur back to life..."
Movieline's Hollywood Life - 06/01/1999
"...Beautifully crafted....Fraser gives the movie its shattering emotional impact..."
Entertainment Weekly - 11/13/1998
"...Condon has made a deeply touching, elegant, and inventive biographical fantasy....An extraordinarily graceful film..." -- Rating: A
New York Times - 11/04/1998
"...An immensely touching character study that is heightened by well-chosen glimpses of Hollywood's past....GODS AND MONSTERS creates a deeply resonant portrait..."
Box Office - 11/01/1998
"...Simultaneously poignant and tremendously entertaining....A triumph of both style and soul, a vessel well worthy of its esteemed subject matter..."
Los Angeles Times - 11/04/1998
"...There are so many colors to McKellen's performance, so many diverse emotions fleetingly play on his face, that resisting his art is out of the question. Better work by an actor will not be seen this year..."
Based on Christopher Bram's novel FATHER OF FRANKENSTEIN, Bill Condon's semi-fictional 1998 sleeper stars Sir Ian McKellen in a fantastic performance as director James Whale (FRANKENSTEIN, BRIDE OF FRANKENSTEIN, SHOW BOAT). It is 1957, and Whale is living in semiseclusion in Southern California with his scrutinizing maid, Hannah (Lynn Redgrave). His health is failing, and he is able to do little but lounge around and contemplate his younger days--his many male loves, his days in WWI, and the film world that has forsaken him. When Whale first gazes upon his musclebound gardener, Clay (Brendan Fraser), however, it is the beginning of an unusual (and platonic) friendship. Seasoned with multiple flashbacks to the sets of his films and to the battlefield, GODS AND MONSTERS is a haunting and touching look at the life of a man who was at the top of the Hollywood hierarchy but soon found himself out of favor--and the offbeat friendship he formed in his final days. McKellen and Redgrave were both nominated for Oscars, and the film garnered one statue for Best Adapted Screenplay.
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