As I sit down to watch Tim Burton’s “Edward Scissorhands” my preconceptions are limited. I know enough about the film to form the basis of its connection with Shelly’s “Frankenstein” on Edward being a creation. This connection is intensified by Burton’s use of pathos in the film. Similarly to Shelley, and in fact to a much greater extent, Burton’s creation evokes sympathy. Edward’s complexity is introduced 10 minutes into the film when the Avon lady comes to his door. Before the viewer even sees Edward, Burton focuses on and pans across a collage. This collage is Burton’s way of giving the viewer insight into his “creation’s” psyche. Like many young adults Edward has created a collage on his wall that personifies himself. Newspaper clippings feature titles that read: “Newlyleds, 90 & to have a baby”, “Boy born without eyes reads with his hands: He feels heat of the words”, and “Boy begs strangers to ADOPT him – & they do!”. These titles suggest that Edward cares about bizarre stories that have happy endings. The viewer can than infer that Edward himself seeks a happy ending and that he may be bizarre as well. Also a part of Edward’s collage are many prints of angels, as well as a an image of the Virgin Mary holding Jesus bordered by a magazine clipping of a mother and child. These images are shown to the audience for exactly ten seconds. Their purpose is to give the viewer a brief but enlightening look at Edward’s complexity; his recognition of the strange, his desire for a happy ending, and for a mother’s nurturing. After viewing the collage, the Avon lady turns and she and the audience see Edward for the first time.
Edward emerges from the shadows and forms a rather frightening figure. This momentary fear gives way to curiosity as he implores the intruder not to go. Mrs. Boggs and Burton’s audience combine this gentle plea with the enlightening images from his collage and immediately pathos has taken effect. When Mrs. Boggs exclaims “what happened to you?!” Edward’s response is “I’m not finished”. Her next question: “Where is your family? Your mother? Your Father?” he responds, “He didn’t wake up.” The audience learns later that Edward is incomplete. His creator died just as he was preparing to give Edward human hands. This “abandonment” resembles Victor’s though Edward’s creator, the inventor, shows his creation love by teaching him etiquette and poetry, he still leaves Edward unfinished and monstrous.
Burton’s interpretation of Frankenstein is unique. His creatures introduction into society is not at all like Victor’s. Edward is largely accepted at first the Bogg’s neighbors are thrilled to have something to talk about and its not long before his scissor hands are exploited and he takes up gardening, barbering, and pet trimming. There are people who show Edward kindness one man in particular shares his war wound story and tells Edward to never let anyone call him handicapped . Unlike Shelley’s creature who resorted to violence in the absence of affection, Edward is always gentle. Despite his gentleness the monstrosity of his hands cannot be ignored.
A striking scene occurs during one of Burton’s few flashbacks that show the history of Edward’s creation. The scene in which the inventor dies is poignant because the reality and implications of creating a non-human creature are seen as Edward reaches out to stroke his creator’s cheek. The resulting cuts immediately show bright red blood and this image leaves the viewer with a foreboding feeling. Not long after this flashback the audience is once again directed to the reality of Edward’s situation. His potential for destruction is too great.
Tim Burton concludes his Frankenstein-esque story with Edward’s return to his castle separated from the society he had benefited because despite his gentleness and his desire to use his hands for good, their sharp blades are too large to be ignored.
good start, particularly in the ways you are doing a close reading of the scenes–and have the interpretation emerge out of that.