Each clip portrays the creation in a vastly different tone that does not seem to capture the mood Mary Shelley was setting up in the novel. The actual details of how Frankenstein brings the monster to life are condensed into one sentence, which reads, “With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet.” The scene is introspective and goes on to discuss Frankenstein’s reaction to the Creature at length. Both James Whale and Kenneth Branagh’s versions of the scene focus more on building up the suspense of the Creature’s birth and zeroing in on the minute details, such as what levers are pressed and wheels are turned. Branagh’s version especially packs the scene with action and visuals. In the novel, Frankenstein is anxious and in poor health due to how obsessively he worked on the Creature. Yet Branagh portrays him as excited and energetic, running around the room and jumping on machinery. What Branagh does get right at least is the solitary nature of the moment: Frankenstein alone shares in the creation of the Creature in the novel. Whale’s film sets it up to be a spectacle where several people watch from the sidelines and await the birth. In the aftermath, both versions of Frankenstein feel triumphant, with Whale’s version crying out, “I know what it feels like to be God.” Shelley, however, writes Frankenstein running out of the room, disappointed with his creation. In the end, it is obvious that the films had to include certain theatrics that the book could ignore due to the difference in medium, but these two clips do seem to show a misunderstanding of what the scene was trying to accomplish.