The Cult Classics That Inspired Lisa Frankenstein

The Cult Classics That Inspired Lisa Frankenstein

Welcome to MsMojo, and today we’re exploring the cult classics that inspired the retro horror-comedy “Lisa Frankenstein.”

Mary Shelley’s 1818 novel, “Frankenstein; or, The Modern Prometheus,” provided the basis for James Whale’s 1931 film adaptation. This version is responsible for many hallmarks we associate with the Frankenstein mythos, such as electricity reanimating a corpse. The film also introduced the idea of the monster being assembled of body parts from different corpses. Likewise, “Lisa Frankenstein” borrows elements from other films, assembling its own beast. In addition to “Frankenstein” and its 1935 sequel, “Bride of Frankenstein,” the beauty and the beast relationship draws parallels to “Creature from the Black Lagoon.” Tonally, “Lisa Frankenstein” is closer to Buster Keaton’s “The Haunted House” or Mel Brooks’ “Young Frankenstein.” Where the latter satire recreated the gothic ambiance of its 1931 predecessor, “Lisa Frankenstein” takes a modern approach, albeit not that modern.

Writer Diablo Cody cited “The Rocky Horror Picture Show” as one inspiration. This goes beyond referencing the song “Damnit Janet.” “Lisa Frankenstein” offers a similar blend of camp, horror, comedy, and even music with “Can’t Fight This Feeling” playing a significant role. Above all else, “Rocky Horror” seemed to popularize the idea of monsters being sexual creatures. One could argue that sexual undertones were apparent in past monster movies, but no film up to that point had been more explicit than “Rocky Horror.” It stands out as one of the freakiest and most unique films to come out of the sexual revolution. Where “Rocky Horror” is distinctly 1975, though, “Lisa Frankenstein” drapes itself in 80s nostalgia.

The 80s were known for putting contemporary twists on familiar monsters, turning Michael J. Fox into a werewolf and Bigfoot into a lovable member of the Henderson family. With “Lisa Frankenstein” being set in 1989, the crew took visual cues from movie releases that exact year, such as “Bill & Ted’s Excellent Adventure” and “Say Anything…” Pedro Almodóvar’s “Tie Me Up! Tie Me Down!” proved especially inspirational, aesthetically and tonally. In that Spanish dark comedy, a mental patient kidnaps an adult film star in hopes of forming a love connection. It sounds messed up, which it is, but the notion of beauty taming the beast is a common monster movie trope, from “King Kong” to “Frankenstein.”

“Tie Me Up!” was initially rated X, although it was eventually changed to NC-17. Throughout the decades, few filmmakers have challenged the MPA like the Pope of Trash, John Waters, another inspiration for “Lisa Frankenstein.” Director Zelda Williams - Robin Williams’ daughter - aspired to make a film that was “John Waters meets Nightmare on Elm Street.” In the spirit of Waters, “Lisa Frankenstein” is twisted, rebellious, and coated in bad taste. It doesn’t push the censorship boundaries as Waters did, sticking to PG-13 territory. Yet, “Lisa Frankenstein” goes as far as possible with this rating. A particular death keeps most of the gore off-screen, although the silhouette of a certain body part flying through the air is demented enough to be in Waters’ “Trash Trilogy.”

Waters isn’t the only John who influenced “Lisa Frankenstein.” Diablo Cody has warranted comparison to John Hughes since her debut film, “Juno.” Like Hughes’ “Sixteen Candles,” “Lisa Frankenstein” comes complete with a misunderstood high school girl, a hot guy, and a geek who seems harmless until his problematic side is revealed. “Weird Science” is the Hughes classic that “Lisa Frankenstein” owes the most to. Instead of teenage boys creating a perfect woman named Lisa, the plot is reversed with a girl named Lisa creating the perfect man. Granted, a reanimated corpse might not seem like the ideal mate, but the fact that he’s Cole Sprouse underneath the rotting flesh goes a long way.

The look and tone of “Lisa Frankenstein” are riddled with Tim Burton vibes as well. The film paints a portrait of suburbia that’s both mundane and fantastical, akin to “Beetlejuice” or “Edward Scissorhands.” Speaking of the latter film, Johnny Depp was drawn to the role of Edward because he wanted to distance himself from “21 Jump Street.” “Lisa Frankenstein” could also mark a turning point for Sprouse, who has been boxed in as a teen idol ever since “Riverdale.” Where Edward was a gentle soul, though, Sprouse’s monster is prone to violence with Kathryn Newton’s Lisa encouraging his behavior. In that sense, “Lisa Frankenstein” has more in common with Robert Wiene’s “The Cabinet of Dr. Caligari,” which had a major impact on Burton.

Rather than a classic Boris Karloff look, Sprouse’s makeup was largely based on Bub from George Romero’s “Day of the Dead.” Meanwhile, Lisa’s wardrobe echoes Winona Ryder in “Heathers.” The comparisons to that cult classic don’t end there. Both of these dark comedies center on an angsty teenage girl infatuated with a bad boy who’s willing to kill for her. That said, the bodies soon pile up as the couple is backed into a corner. “Lisa Frankenstein” possesses the cynicism of “Heathers,” but it’s balanced with more heart. There isn’t a stereotypical “mean girl” who we want to see get her comeuppance. At first, Lisa’s cheerleader stepsister Taffy seemingly fits the queen bee bill, but she winds up being the most empathetic character.

While “Lisa Frankenstein” is primarily grounded in the 80s, it pays homage to a few early 90s films as well. The fish out of water premise is right out of “Encino Man.” The mix of body horror and slapstick is reminiscent of Billy Butcherson in “Hocus Pocus.” Zelda Williams most notably looked to “Death Becomes Her,” a comedy that managed to be violent while still being wickedly silly. Williams also responded to that film’s “fascinatingly female-forward gaze,” which she incorporated into her feature directorial debut. Movies like “Lisa Frankenstein” have been a dying breed for almost 30 years now, although two other 21st-century horror comedies come to mind: the underrated Shakespearan zombie romance “Warm Bodies” and Diablo Cody’s follow-up to “Juno,” “Jennifer’s Body.”

Cody says that “Lisa Frankenstein” takes place in the same universe as “Jennifer’s Body.” In 2009, a “Jennifer’s Body” cinematic universe seemed unlikely given the film’s critical and commercial failure. We can’t help but get the sense that a lot of critics had it out for Cody after she won an Oscar. While some like Roger Ebert appreciated her distinct voice, others framed Cody as a one-hit wonder and a film about a teenage succubus was admittedly an easy target. Yet, Cody proved her staying power with films like “Young Adult” and “Tully.” Even “Jennifer’s Body” developed into a cult classic with the #MeToo Movement presenting it in a new light. This reappraisal motivated Cody to revisit the horror-comedy genre with “Lisa Frankenstein.”

Cody felt Williams would be a good fit for her script after seeing her 2018 short film, “Shrimp.” Cody noticed a personal connection between the screenplay and Williams, who lost her father over a decade ago. As Cody told Rolling Stone, “I realized it was interesting for her to be working on this project about grief, and about how you’re allowed to grieve, given what she had gone through in the public eye.” You wouldn’t expect a film called “Lisa Frankenstein” to provide an outlet for grief, but inspiration can strike in the most unexpected places. With the heart of John Hughes, the style of Tim Burton, the madness of John Waters, and several personal touches, Williams and Cody have made a new cult classic come alive.

What did you think of “Lisa Frankenstein?” Let us know in the comments.