We have our first images of Christian Bale and Jessie Buckley in Maggie Gyllenhaal’s “The Bride!” via Warner Bros, which is set for a theatrical and IMAX launch on October 3, 2025. As you can see from the above image, Bale’s monster look is punk-rock inspired.
The film has started production and is eyeing for Gyllenhaal to return to Venice, in 2025, after premiering her debut feature (“The Lost Daughter”) to rapturous reviews on the Lido in 2021. ‘Joker’ cinematographer, Lawrence Sher, is lensing the film.
Back in August, I exclusively reported on the genesis of “The Bride!”. Then, in November, after Netflix dropped the project, I broke the story that it was about to find a new home at Warner Bros.
We also have more details about the cast, and it’s filled with some major talent. Starring in “The Bride” will be Buckley, Bale, Annette Bening, Penelope Cruz, and Peter Sarsgaard. There’s also been a rumor that comedian John Mulaney might play the cop …
This is the longline for “The Bride!” …
Lonely Frankenstein travels to 1930s Chicago to seek the aide of a Dr. Euphronius in creating a companion for himself. The two reinvigorate a murdered young woman and the Bride is born. She is beyond what either of them intended, igniting a combustible romance, the attention of the police and a wild and radical social movement.
The budget for the film is said to be around $80 million.
This is a loose remake of 1935’s “Bride of Frankenstein” — the sequel to 1931’s Frankenstein. This project will be anticipated not just due to Bale’s presence, but, more so because Gylenhaal is behind behind the camera for her second feature.
Gyllenhaal helmed the Netflix-backed 2021 psychological drama, “The Lost Daughter,” starring Olivia Colman, which turned out to be a critical hit. It also garnered three Oscar nominations and won Gyllenhaal Best Screenplay honors at Venice.
I’m not sure what’s with the current fad of Frankenstein-inspired projects — Lanthimos, Del Toro, Gyllenhaal — but Mary Shelley’s 200-year old work seems to still be striking a major chord with today’s filmmakers.
