David Harbour had a career before Stranger Things: The Equalizer, Black Mass, Suicide Squad, and various TV roles. But Stranger Things is the thing that made him a household name, playing the gruff police chief who adopts science experiment Eleven. It’s what allowed him to secure the lead role in the Hellboy remake. But despite his various roles, I didn’t know him for what is clearly a deep and quirky sense of humour.
In this Netflix short film, he plays “himself”, David Harbour III, plus his father, Harbour Jr., and his grandfather Harbour Sr., as well as Frankenstein. David Harbour (the third) is ostensibly looking into his family’s rich acting legacy, and particularly at a made-for-TV play he starred in called Frankenstein’s Monster’s Monster, Frankenstein. It’s a mockumentary, in case you’ve failed to glean that.
In the needlessly complicated play, the monster is posing as the doctor Frankenstein, and the good doctor is posing as the monster, in an effort to get funding from a lovely young woman (Kate Berlant), who for some reason falls madly for the monster, who is actually not the monster, though she doesn’t know that. At first.
David Harbour (the third) screens footage from this weird TV movie for us, and not just the movie, but the commercials that ran between episodes, giving us a glimpse of vintage product placements that will make you appreciate the content all the more. In fact, it seems this play as being broadcast live on television, and was subject to the whims of its blowhard, egotistical star.
The more Harbour (the third) looks into it, the more his idea of his father, the acting legend, unravels. Turns out, he as a real piece of shit.
It’s a crazy, wacky project that’s not for everyone, but I love seeing this kind of stuff from Netflix. It’s deliciously indulgent, and it takes a sudden turn that you wouldn’t buy from more traditional material. It breaks all the rules. This truly is a new era for television, if Netflix can even be classed as such – not quite TV, but not quite the movies, it’s clearly a lawless, magical place where classic lines can be redrawn and anything goes.
Harbour fully commits to the weirdness, even if I’m still not sure what to call it. Is this sketch comedy? Just an odd idea he had one night, in a fever dream? A side project devoted to pushing boundaries? In the end, at only 30 minutes, it’s an easily digested bit of fun, which actually demands to be rewatched immediately, to pick up the little Easter eggs you didn’t know where planted. I’ve never seen this side of David Harbour before, and it’s not so much a new side as like half a dozen new sides, all at once. Enjoy.