FRANKENSTEIN’S MONSTER’S MONSTER, FRANKENSTEIN: A Quick-Paced Satirical Special

Frankenstein’s Monster’s Monster, Frankenstein is a wonderfully unique mockumentary directed by Daniel Gray Longino and written by John Levenstein. Netflix has been branching out into more experimental comedy with The Lonely Island Presents: The Unauthorized Bash Brothers Experience and the short and always entertaining sketch series I Think You Should Leave with Tim Robinson. Frankenstein’s Monster’s Monster, Frankenstein follows in this new focus on more unique and absurd comedy. Frankenstein’s Monster’s Monster, Frankenstein stars David Harbour, Kate Berlant, Alex Ozerov, and many more talented performers giving memorable comedic performances.

This new short, satirical mockumentary gives David Harbour a chance to showcase his talents as well as his comedic voice. Kate Berlant, who gave a wonderful performance as the owner of the Garfield house in I Think You Should Leave, comes back to Netflix comedy to give another memorable performance as Monica Fulton, an actress starring in the central play as Miss Machbeth.

Style Creates a Glimpse Into the Theater and the Past

Frankenstein’s Monster’s Monster, Frankenstein captures the visuals of a decade and television genre of the past. When footage of the central play is shown, the visual style is reminiscent of filmed plays and made-for-tv serials of the time.

Similarly to how The Spoils of Babylon captured this era and genre, Frankenstein’s Monster’s Monster, Frankenstein captures the theatrical side of this unique time in television history. Little details, such as doors getting stuck, brought the central play to life. The attention to detail helps the theatrical satire of this mockumentary work that much better.

Each aspect of the film is shot in unique ways to capture the style of filmed plays, old talk shows, and commercials, especially reminiscent of Orson Welles frozen pea commercials. David Harbour gives unique and engaging comedic performances in every moment. His performance throughout the film captured the style of each moment. Seeing his comedic talents on display in so many different ways throughout the film, I hoped that he will tackle more comedic roles in the future.

Netflix Branching Into Different Comedic Styles

With Netflix branching off and creating more experimental content, they have given life to unique and exciting comedy projects. The platform allows content to be created in almost any format and length. This works in the favor of comedy like Frankenstein’s Monster’s Monster, Frankenstein, which is a perfect length and pace.

Netflix could have expanded this into multiple episodes or a feature length, but I am grateful the short created was neither too short or too long. I felt absorbed in the comedy and performances, and I could have happily sat and watched more and more in this world, but I also appreciated the pacing and length of this short. It works well as a welcome, and memorable, break from a hectic schedule.

Frankenstein’s Monster’s Monster, Frankenstein is a welcome addition to the more experimental comedy Netflix has been releasing lately. As a fan of more absurd and unique comedy, I look forward to Netflix creating more content like Frankenstein’s Monster’s Monster, Frankenstein. The surreal and absurd tone of the comedy mixed with its soapy 1970s sensibilities feels like if Ernie Kovacs made Dark Shadows, and I absolutely loved it.

Heather Lawless has a small, yet memorable part in Frankenstein’s Monster’s Monster, Frankenstein, and when I saw her, I was instantly reminded of her parts in At Home with Amy Sedaris, a series I have referred to as the best recent comedy series many times.

Her involvement in Frankenstein’s Monster’s Monster, Frankenstein made the short even better, and made me hope Netflix makes more comedy like this in the future, especially if they work more with David Harbour, Kate Berlant, Heather Lawless, Alfred Molina, and much more of the wonderful cast involved in the making of such a fresh and atmospheric comedy short.

The way the film goes from filmed footage of the play and moments of talk shows, a wonderfully funny look into acting showcases with Alfred Molina’s character, Aubrey Fields. These moments break the short up, similarly to how different sketches would in an episode of a sketch series. This allows each moment to fully land, and gets the audience ready for something new and interesting to happen when it shifts to something else, while maintaining a thread to connect everything together.

Performances and the Balance of Both Sides of the Story

David Harbour and Kate Berlant’s comedic sensibilities keep the short fresh. David Harbour balances playing a fictional version of himself and his father, David Harbour Jr., a stage actor, trying to maintain his career with a final play, while he also balances the performances within the play. Part of the comedy of the short comes from the confounding nature of the play, where David Harbour Jr. plays Dr. Frankenstein who pretends to be a monster.

These balances of the two worlds within the short help the comedy come hit harder in each moment. When glimpses into the play were shown, I appreciated the visuals and small details establishing the world of 60s, 70s, and 80s filmed plays and made-for-TV serials.

When the film switched to the world of David Harbour exploring his father’s legacy, the interactions with a producer played by Mary Woronov, a recognizable star of cult films including one of my personal favorites, Eating Raoul, and an agent played by Michael Lerner, brought new humor and light to what we glimpsed in the footage of the play.

Frankenstein’s Monster’s Monster, Frankenstein: Conclusion

Frankenstein’s Monster’s Monster, Frankenstein is a wonderfully absurd and surreal comedy, which satirically captures the story of Frankenstein, and the confusion which comes with it, as well as the environment of theatrical productions and the egos that come with that. This short is a welcome addition to Netflix’s growing catalog of more experimental and absurd comedy. David Harbour and Kate Berlant stand out in this short with their comedic talents. I look forward to seeing more of Kate Berlant’s work, which is always stellar, and I hope David Harbour explores more comedic roles after this.

Are you interested in more comedy specials like Frankenstein’s Monster’s Monster, Frankenstein from Netflix in the future? Do you like the way Netflix comedy is exploring different genres and tones of comedy in their programming? Please share your thoughts in the comments.

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