Miller identifies many of the parallels the film has to other works, most notably James Whale’s 1931 film Frankenstein and the source novel by Shelley. Bird’s film has all the appropriate hallmarks to make it a Frankenstein adaptation: a created automaton abandoned by its creator, a near unstoppable drive permeating the creature, incomplete family lives, the fear of the public as a careful backdrop, and the attention of a humanistic outcast. “In short,” Miller states, “only Frankenstein himself is missing from The Iron Giant” (388). Miller illustrates the Iron Giant’s stature as a copy of Boris Karloff, “complete with broad shoulders and prominent bolts on each side of the head” (385), standing large and menacingly strong, but without voice. As well as copying the actor’s massive frame, th
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| - “Frankenstein Without Frankenstein: The Iron Giant and the Absent Creator” by T. S. Miller
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| - Miller identifies many of the parallels the film has to other works, most notably James Whale’s 1931 film Frankenstein and the source novel by Shelley. Bird’s film has all the appropriate hallmarks to make it a Frankenstein adaptation: a created automaton abandoned by its creator, a near unstoppable drive permeating the creature, incomplete family lives, the fear of the public as a careful backdrop, and the attention of a humanistic outcast. “In short,” Miller states, “only Frankenstein himself is missing from The Iron Giant” (388). Miller illustrates the Iron Giant’s stature as a copy of Boris Karloff, “complete with broad shoulders and prominent bolts on each side of the head” (385), standing large and menacingly strong, but without voice. As well as copying the actor’s massive frame, th
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| abstract
| - Miller identifies many of the parallels the film has to other works, most notably James Whale’s 1931 film Frankenstein and the source novel by Shelley. Bird’s film has all the appropriate hallmarks to make it a Frankenstein adaptation: a created automaton abandoned by its creator, a near unstoppable drive permeating the creature, incomplete family lives, the fear of the public as a careful backdrop, and the attention of a humanistic outcast. “In short,” Miller states, “only Frankenstein himself is missing from The Iron Giant” (388). Miller illustrates the Iron Giant’s stature as a copy of Boris Karloff, “complete with broad shoulders and prominent bolts on each side of the head” (385), standing large and menacingly strong, but without voice. As well as copying the actor’s massive frame, the military of Bird’s film mimics Whale’s mob as they chase the Creature to the windmill. Gaining the trust of Hogarth Hughes, a young, fatherless boy in The Iron Giant, the metal man is educated by the child and the Hughes family acts as a stand-in for the DeLacey family with the peaceful invader hiding in Hughes’ barn similar to how Shelley’s Creature hid in a hovel next to the DeLacey cabin.
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