We like to think in dualities that are opposites of each other and are sometimes hard to define because of how basic they are, for example, light and dark, life and death, I and the other, beauty and ugliness. We create our identities on elements that differentiate us from others. The monster is used as a canvas to project the fears, traumas and unrest onto it, like the scapegoats in all time periods, not just in Mary Shelley's time when she wrote her debut novel titled 'Frankenstein' in 1818. Since adaptation is a tricky task, we can see two different reworkings of the original text from the two directors; one being a more text-accurate version from Branagh that also utilises other known images and scenes, and the other film not even adapting Shelley's novel directly, but using a play that was based on the novel. The dualities we see in all three works show us - with additional context from french philosophers Michel Foucault and Georges Canguilhem - how the monster is not only confined to the physically abnormal body but that there exists a moral monstrosity, and how the mad scientist becomes a monster and the creature is not really a monster.