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One could never faultMary Shelley for a lack of imagination, just a lack of available technology: Her 1818 “Frankenstein” offers no pseudo-scientific explanation for its Creature’s reanimation, only some vague primal force harnessed by the book’s title character. It was the movies, beginning in 1931, that suggested electricity as a means of fusing humans out of spare parts. What is suggested by the remarkable “birth/rebirth” is how Shelley’s story—its mythos, at any rate—can itself be brought back to vibrant life, time after time, by torquing modern medicine into increasingly plausible horror.
Written by director Laura Moss and Brendan J. O’Brien, “birth/rebirth” brings the “Modern Prometheus” right up to the edge of a biological reality while still being about the real humans inhabiting the drama—Rose (Marin Ireland), a pathologist who deals with the most unfortunate patients at her Bronx hospital, and Celie (Judy Reyes), who ushers in the newcomers as an obstetric nurse. The Shelley blueprint—which locates the fear factor in every scientific leap that humans make as they inevitably play God—is always paved with good scientific intentions. Rose and Celie mean well. Alas.
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