Clive finds himself irresistibly drawn to the young Dren, who quickly matures into a beautiful young woman, albeit with wings and a tail. Though the similarities are undeniable, Splice takes this idea a step further and perhaps makes it even a bit more current, urging viewers to consider not only the sort of warped parent-child relationship which forms as a result of this creation, but also one of a blurred area of sexuality. This lamentation from Frankenstein’s monster illustrates the level of incompetency Victor has in regards to the treatment and even the life of his creation, eager to undergo the science and process but extremely cautious to accept any responsibility once he realizes that the creature is out of his control. This sort of treatment is reminiscent of Victor’s first conversation with his creature, as he shouts at him “ Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust?” (Shelley 103). What’s worse, they begin to fear Dren, and rather than nurturing her with love and gentleness begin to treat her with the hostility of fear. The narrative of parental-like responsibility and abandonment is strong in Frankenstein, and perhaps even stronger in Splice. Clive and Elsa, much like Victor, are impossibly unprepared to take on the monumental task of raising and educating a naive and impressionable sentient being, one which they themselves have created. She wants to leave the lab, to explore the world, and more importantly, she wants answers. Dren grows rapidly, and though she cannot speak, appears cognitive and a fast learner. Despite this initial attachment, Elsa’s maternal feelings for her creation, now called “Dren,” are quickly put to the test as she becomes more and more difficult to control. As the fetus grows, Elsa clearly begins to develop a genuine affection for her she names the creature even after she and Clive have discussed that they will not do so in order to remain detached, becoming a sort of parental figure to the fetus just as Victor was to his creation. The parallels to Victor and his creation don’t stop there. The two become indignant and, much like Victor, decide that they will build a creature if only to prove to themselves that it is possible thus, they splice together a new combination of animal and human DNA, and nurture the embryo to birth. Clive and Elsa, however, are dismayed when they are told that their work will no longer involve creating new species but will instead focus on discovering the medical advantages of those they have already made. Natali’s film centers on two geneticists who have just created a new species of “spliced animal genetics” for their corporate employers who hope to use the new strain to invent new medically-altered enzymes which will assist in curing humans of various diseases and ailments (Newman). One such modern variation is the 2010 film Splice, directed by Vincenzo Natali. Not all of these adaptations are direct, and many never even make reference to Shelley’s seminal work, but the thematic elements presented in Frankenstein are always present and prominent. Mary Shelley’s Frankenstein is potentially one of the most iconic pieces of literature ever written, at least in terms of the sheer number of adaptations it has seen across an array of mediums in the last century, including film, television, and other literature. Her creators, Clive and Elsa, fear they will soon be unable to control her. Dren, the creation in “Splice,” grows rapidly and is curious of the world.
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