Fair point.
But Gerald was obviously tremendously affected by the situation - the gray hair, the drawn unsmiling face. That moment at dinner when he's forced into a bare grin at his friend's awful joke is quite touching. But then he's instantly forced back to the responsibility he feels for the old guy - er, frog. For good or ill he has made the horrible decision to devote his life, even to an early death like his ancestors, to that responsibility. (The only thing that could free him, you remember he scratched out in his letter, was a death.)
Could he have just hired another couple helpers for his two devoted servants, forgotten the whole thing, and remained in Cannes? Maybe. People put their mothers away in homes never to visit them again. But mother isn't a toad. And Gerald is more civilized than that. The point is plainly made that despite his appearance, the creature is fully, mentally - spiritually? - a human, a man who could somehow even make his wishes known. Also, we know that a third servant just died, frightened to death by the castle horror. Is it right to place someone else in such danger as you while away the time on the Riviera? And how do you advertise for such help, anyway? "Applicant must be punctual, hard-working, wear ridiculously old-fashioned clothing, and not be afraid of amphibians"?
Gerald does his duty as he sees it, to his family and humanity. That duty includes breaking off the marriage (which also, don't forget, protects his beloved from the madness of a Craven Castle curse so horrifying that he's aged twenty years in a few weeks!)
Perhaps a less outlandish, more human costume (along the lines of the Gill-man?) would make us sympathize more with the familial emotions Gerald suffers. ("All I can say is, my own [anguish] has been almost unbearable," he confesses to Kitty at the end.) Alas, Menzies did the best he could with the budget he had and gave us a guy crawling around in a mudpuppy suit to which we must do our best to attribute real humanity.
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