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Similarities Between Frankenstein And Reservoir Dogs

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Frankenstein by Mary Shelley contains thematic parallels with, an acclaimed film by Quentin Tarantino, Reservoir Dogs. Frankenstein's creature is psychologically affected by the putrid ambience he was exposed to by humanity. Contrastingly, it is not certain how the professional criminals developed antisocial personalities. The team of professional criminals seem friendly towards each other during the beginning of the film, yet they only know each other by designated aliases. Themes of madness, as well as, lies and deceit are present in Reservoir Dogs and Frankenstein. Reservoir Dogs has a select few, personally selected by Joe, professional criminals carry out his seemingly brilliant scheme. People in such a distinct line of work compensate …show more content…

In addition to the theme of madness, both works display the theme of lies and deceit. Victor’s troubles are unexposed to anyone, excluding Walton, including his own father, “ My father had often, during my imprisonment, heard me make the same assertion; when I thus accused myself, he sometimes seemed to desire an explanation, and at others he appeared to consider it as offspring of delirium, and that, during my illness, some idea of this kind had present itself to my imagination, the remembrance of which I preserved in my convalescence” (Shelley 192). Victor never discloses his secrets to his friends and family, rather he deceives them. In addition, the creature too displays a deceitful nature, “ My revenge is of no moment to you; yet while I allow it to be a vice, I confess that it is the devouring and only passion of my soul” (Shelley 208). Walton was compelled to believe the manipulative creature, but was prepared due to Frankenstein's warnings. Similarly, the criminals are deceived by, a cop, one amongst them; furthermore, the group was prone to deceitfulness by remaining uninformed of each other's backgrounds. All in all, the criminals, Frankenstein, and Frankenstein's creature all posses deceitful

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While people reading books, certain details will lead them to the center of brainstorming and start making connections with other forms of mass media consisted of movies, newspaper articles, and social media captions. So does the Frankenstein has shown sort of likenesses of the characters’ personalities and conflicts as well as the theme of obsession to human innovation and life to the movie The Prestige, which yet at the same time reveal extraordinary dissimilarities in between. To begin with the characters in these two classical works, while Angier is just competing with another magician called Borden, Victor is dealing with an impossible mission against a giant monster that is targeting at his family. Victor has pushed himself into the department of Life Science to search the ways of immortality which break the law of nature, however, magic tricks followed by Borden and Angier can be seen as another form of science, but fake science. There is

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The story Frankenstein by Mary Shelley has been molded and shaped to create many different types of story plots and characters. There are many different types of media that relate back to the original but then add their own little twist into the mix. Mary Shelley’s Frankenstein is a story about a scientist who created another human being, who he then abandons, and now the monster is getting revenge on Frankenstein by inflict havoc on his family. An example of this would be the movie Marvel’s The Avengers: Age of Ultron and the relationship between Ultron and his main creator Tony Stark.

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One huge similarity between Frankenstein and the movie Blade

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The novel Frankenstein brings to light many problems and situations that shed light on the faults of mankind. Cruelty was a huge factor in the novel; throughout Frankenstein is cruel to his body and to his creation. When he first makes the creature he runs from it, leaving the creature to fend for himself; even when reuniting with the creature he continues displays cruelty. The creature, in turn exhibits Victor cruelty right back. Within Frankenstein cruelty can be attributed, often affecting both Victor and the creature; serving as a crucial motivator and revealing their anger, pain, frustration till eventually both die.

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1021 Words | 5 Pages

The Monster believes and mentioned several times that the reason that he is so angry is because of Victor. Shelley writes,

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Victor’s rash decisions in not only reanimating the monster, but also letting the monster run free, create “monstrous” consequences for him. After the deaths of both William and Justine to the monster’s bloody hands, Victor knows that “anguish and despair had penetrated into…my heart; I bore a hell within me” (Shelley, 96). “Penetrated” means something has forced its way into something. These morbid feelings of Victor have violently forced their way into his life. “Penetrated” reinforces the sheer amount of pain that Victor feels at the death of Justine, who ultimately, he believes he killed.

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Ever wanted to bring back someone that has passed away? Mary Shelley writes a novel called Frankenstein telling about the consequences of messing with life and death. She reveals that there are consequences to this. Victor Frankenstein bring the dead back to life but he can not face what he have created. Victor and his Creature have some similarities and differences which reveal messing with life or death can be dangerous.

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This decision is the first reason Victor should be held responsible for the murders of his family and friends. On page 35, the text says, “I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.” (Shelley) If Victor had not given the creature life, then it would not have been able to murder anyone. He let his ambition impede his common sense.

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In the novel, Frankenstein by Mary W. Shelly, Victor Frankenstein creates a creature. The creature and Victor Frankenstein have conflicts between each other, which is why Robert Walton is necessary to help the reader relate to Frankenstein, by having many of the same attributes are Victor Frankenstein does. Robert Walton has many similar traits to Victor Frankenstein, ultimately helping the reader greater relate to Dr. Frankenstein. Even though Frankenstein is viewed as a monster himself and Walton is considered a normal person.

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Victor falls ill with anxiety, and as a result of Victor’s neglect the monster begins to destroy his life. Even when the monster confronts Frankenstein, threatening that he “will glut the maw of death, until it be satiated with the blood of [Frankenstein’s] remaining friends, 102" Victor does not acknowledge the problem he has caused, the literal embodiment of his anxiety. He does not attempt to confront the monster head on or alleviate his loneliness, both a form of acknowledgement and thus a healthy way to respond to his fears. Instead, he once again pretends the monster doesn’t exist which only further enrages and empowers him. Once again, this mirrors the fact that when fears and anxiety go undealt with they will only grow and confirms that the monster is the embodiment of this

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Victor is stirred by his work, but not in a positive manner. He goes on to explain his feelings towards the creature by saying, “… my heart sickened and my feelings were altered to those of horror and hatred” (136). Victor is so bewildered and repulsed by the creature that he misses key signs of violence, from the creature, that may have saved Victor’s family had he not been so

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The adaption from book to film is a hard fraught translation, in which many themes and fundamental ideas can be lost. This is apparent in the adaption of Mary Shelley’s novel Frankenstein into the 1931 film directed by James Whale of the same title. While the two stories are of the same premise, they are fundamentally different in later story elements, ideas, and themes. Even though the film inspires horror and intrigue like its novel counterpart, it lacks the complex moral arguments and depth of the book it is based upon. Whale’s Frankenstein ultimately fails as an adaptation of Mary Shelly’s work, because the removal of the narration and moral conflict present in the novel, which causes the film to lack overall emotional depth.

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Shelley’s novel encompasses the unknown and how ambition drove Victor’s passions, ultimately leading him to the tragic end with many other bumps in the road along the way. As Victor had been in the study of life and its cause, the death of his mother had catalyzed a movement of grief which had started, “…depriv[ing him]self of rest and health. [Which he] had desired it with an ardour that far exceeded moderation…” (Shelley 35). Even though he knew that he had been raiding graveyards, Victor believed that he created the body with the ‘finest body parts’ available.

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Mary Shelley shows these actions as Victor first made the decision to develop the creature, in which leads to the guilty conscience as the monster is the cause of death of William, Victor’s younger brother and the execution of Justine who is directly and indirectly the cause of William’s death. Throughout the rest of the story, once the monster did these doings, Victor comes to the realization that his creature is no good, including no good intentions and realizes where his pursuit and passion of knowledge has brought upon

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Simultaneously, Victor failing to take responsibility for his own creation leads the creature down a path of destruction that manufactures his status as a societal outcast. The creature's dissolution from society, his search for someone to share his life with, the familiarity with intense anguish, his thirst for retribution, each of these traits coincide with Victor as he is depicted throughout the novel. Victor unknowingly induces his own undoing through his rejection of the creature. Shelley foreshadows his downfall by stating that “the monster still protested his innate goodness, blaming Victor’s rejection and man’s unkindness as the source of his evil” (Shelley 62) The creature essentially places Victor at fault for the creature becoming an outcast of society, by expressing this Shelley constructs a very austere portrayal of man’s contact with outsiders.

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