Film Review: ‘The Bride!’ is a Wildly Big Creative Swing from Maggie Gyllenhaal

I do love a big swing. Especially coming from an actress turned filmmaker only helming her second feature, ambition is incredibly admirable. Plus, coming off of a year where we got an elegant yet somewhat traditional take on Frankenstein, doing something different goes a long way. Say what you will about The Bride! (and I expect people to have a lot to say, both positively and negatively), it’s very different. Maggie Gyllenhaal goes for broke with a film so full of ideas that, even when things miss, you’re still impressed by the attempt.

The Bride! has plenty that doesn’t work, to be fair, though what does work is deliciously unhinged. Additionally, the movie has arguably the best Jessie Buckley turn to date, which is already saying something. There’s a throw caution to the wind sensibility that permeates through everyone and everything here, which makes the flaws more forgivable, as well as the successes more worth calling out.

Taking place in 1930s Chicago, we’re introduced to Ida (Buckley), a young woman spending time with mobsters. When her mind is inhabited by the spirit of Mary Shelley, she acts out, leading to her sudden demise. Then, we meet Dr. Euphronious (Annette Bening), who is being visited by none other than Frankenstein’s Monster (Christian Bale). Frank has come to see her with a specific purpose. He needs her to cure his loneliness. She takes some convincing, but eventually they’ve dug up Ida, and one experiment later, Frank has his bride. In fact, she’s The Bride.

Initially, Frank wants to play it very safe with Ida, but Mary Shelley keeps acting up, leading to them leaving Dr. Euphronious’ lab and adventuring out. Frank loves movies, especially musicals starring Ronnie Reed (Jake Gyllenhaal), but the public is hardly enamored with the way they look. Then, an act of defiance on Ida’s part, in defense of Frank, becomes a rallying cry for oppressed women everywhere. Eventually, they end up on the run, with a detective (Peter Sarsgaard) and his secretary (Penélope Cruz) on their tales, alongside a gangster (John Magaro), more police, and often angry mobs. As they do their Bonnie and Clyde style love story, the women are rising up.

Christian Bale and especially Jessie Buckley are turning in bold and fearless work, the kind needed in an ambitious film like this. Bale portrays Frank as already a gentlemen, violent when needed, but often timid, and it’s a fascinating take on the creature. He’s clearly having fun and engaged with the material, as well as with the vibrant work from his co-star. Together, they’re certainly delighting in the big swing provided for them. Buckley goes all-in on the complex character, bringing her to life, no pun intended. She’s able to just embrace Gyllenhaal’s vision in a way that unleashes her. Bale does the same, and they have a fun chemistry, but Buckley just walks away with the flick. Annette Bening does fun work as the sicentist, while Jake Gyllenhaal has an enjoyable cameo. Unfortunately, Penélope Cruz, John Magaro, and Peter Sarsgaard are such talented actors, they feel a bit wasted. The supporting cast also includes Jeannie Berlin, Julianne Hough, Matthew Maher, and more. This is Buckley’s show, though, no question about that.

Writer/director Maggie Gyllenhaal fills this Frankenstein take with a musical sensibility that I found rather engaging. Composer Hildur Guðnadóttir leans into that as well, with things especially coming to a head at a moment that homages no less than Young Frankenstein. Gyllenhaal could stand to tighten up the narrative a bit, as the second act into the third is a bit repetitive, but the highs are very high. There’s a love letter to movies and movie musicals here, as well as a feminist streak, that separates things from the usual take on Shelley’s creation. That being said, having Shelley actually in Ida’s head, while giving Buckley even more to do, doesn’t fully work, so there’s a messiness to be found. Visually, it’s messy yet striking as well, with cinematographer Lawrence Sher doing things not dissimilar from what he did on Joker. The story is different, to be sure, though some of the visual vibes aren’t far off.

The Bride! is going to be divisive. I can fully understand anyone who completely dismisses it or can’t vibe with it. At the same time, it won me over early on, never fully lost me in the middle, and ends in a manner that makes sense for the project. So, while it’s nothing to shout from the rooftops here, there’s enough to warrant a recommendation. Moreover, I’m very curious to see what Maggie Gyllenhaal opts to write and direct next.

SCORE: ★★★