With few
exceptions, the overwhelmingly secular filmmakers in Hollywood don’t present Christianity
in a favorable, or even a balanced, light. Characters who are overtly Christian
are almost always caricatures if not the bad guys: fanatical fundamentalists, over-the-top
hypocrites, sexually perverse, outright evil, or a combination thereof. The British
leftist propaganda network, the BBC, is typically just as bigoted in this
respect as Hollywood, which makes its series The Frankenstein Chronicles
all the more stunning as a pro-life, cautionary tale of a world without God.
The Frankenstein Chronicles is a two-season BBC
series (six episodes in each) from 2015-17, available on Netflix. It stars Sean
Bean, who is well-known from dozens of films and TV shows such as The
Lord of the Rings, Game of Thrones, and the James Bond film Goldeneye (Bean reportedly
was once considered for the role of Bond). Set in 1820’s London, the series
follows Bean, looking even more grizzled than usual here, as war veteran and
river detective John Marlott. He is tasked with investigating a monstrous crime:
the body of a young girl has been recovered from the Thames, and Marlott learns
that her corpse actually consists of the parts of eight different children,
stitched together into a single body. Someone is kidnapping and murdering
street urchins, then performing unholy experiments on them. But for what
purpose?
The show reflects
a real-life, early 19th-century surge of interest in anatomy thanks
to an increase in the importance of surgery. At this time, only the corpses of
executed murderers could legally be used for dissection. But the rise of
medical science and a reduction in executions meant that an underground trade
in grave robbing began to flourish. The trade was conducted by so-called “resurrectionists,” who robbed graves to sell
corpses for medical study. An Anatomy Act was proposed which would ensure that
anyone practicing anatomy had to obtain a license from the Home Secretary. It gave
physicians, surgeons, and students legal access to corpses unclaimed after
death – in particular, those who had died in hospitals, prisons, and workhouses
– which would end the work of the despised resurrectionists but meant that the
bodies of society’s downtrodden would be denied dignity and become fodder for
medical experiments.
Marlott is a
working-class stiff whose soul has been ravaged by the drowning death of his
young daughter and his wife’s subsequent suicide – and if you’re familiar with
Sean Bean’s work, you know that there is literally no actor alive whose face
more convincingly conveys a world-weariness and torturous guilt. Troubled by dreams
and hallucinations in which he sees, but cannot reunite with, his deceased
family, and disturbed by the prospect that children are being victimized by “a
monster with a human face,” Marlott begins to obsess over the case, which leads
him deeper and deeper into a tangled political web, and dangerously close to
the darkest evil.