A little over two days after being born at the Houston Zoo, a new baby elephant named Baylor was able to stand up on its own today and tentatively walk. The 348-pound male calf was born Tuesday morning at the zoo's McNair Asian Elephant Habitat. Zoo officials had delayed releasing news of the birth to make sure that the elephant was healthy.
"He's doing well and is with his mother," Zoo President and CEO Deborah Cannon told CultureMap. "He's a little unsure, which is normal. But he is getting up on his own and laying down. He's got a lot to get control of after 48 hours."
Baylor's mother, Shanti, a 19-year-old Asian elephant, is also doing fine after a pregnancy of almost 23 months. Zoo officials said the delivery was "quick and easy." The elephant was in labor for abour 11 hours before delivering the calf at 9:32 a.m. Tuesday morning. The baby started nursing around three hours later.
The Zoo named the calf in recognition of Baylor College of Medicine’s research team, which has worked to significantly reduce the threat of a potentially lethal elephant herpes virus. Animal rights groups have criticized the Houston Zoo's breeding efforts because all 14 elephants bred in captivity in the last 25 years have died at birth or soon afterwards.
If all goes well, they plan to reopen the elephant house next week, so the public can view Shanti and Baylor. "We want them to have some time together before we exhibit him," Cannon said.
Check out the first video of Baylor below. And let us know if you'll be going out to see the zoo's newest star or not.
The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.
Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.
After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.
It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.
One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.
Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.
Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.
Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.
