In 2014, the year of its 40th anniversary, Brooks considered it by far his finest (although not his funniest) film as a writer-director.[12]
Plot
Dr. Frederick Frankenstein is a lecturing physician at an American medical school and engaged to Elizabeth, a socialite. He becomes exasperated when anyone brings up the subject of his grandfather Victor Frankenstein, the infamous mad scientist with whom he does not want to be associated, and insists that his surname is pronounced "Fronkensteen".[13] When a solicitor informs him that he has inherited his family's estate in Transylvania after the death of his great-grandfather, the Baron Beaufort von Frankenstein, Frederick travels to Europe to inspect the property.
At the Transylvania train station, Frederick is met by a hunchbacked, bug-eyed servant named Igor, whose own grandfather worked for Victor; and a beautiful, young, female assistant named Inga. Hearing that the professor pronounces his name "Fronkensteen", Igor insists that his name is pronounced "Eyegor", rather than the traditional "Eegor".
Arriving at the estate, Frederick meets Frau Blücher, the intimidating housekeeper. After discovering the secret entrance to Victor's laboratory and reading his private journals, he decides to resume his grandfather's experiments in re-animating the dead.
Frederick and Igor steal the corpse of a recently executed criminal, and he sets to work experimenting on the large corpse. He sends Igor to steal the brain of a deceased "scientist and saint" named Hans Delbrück. Startled by his own reflection and the sound of thunder, Igor drops and ruins Delbrück's brain. Taking a second brain labeled "Abnormal", he returns with it and Frederick transplants it into the corpse, thinking he has transplanted Delbrück's brain.
Frederick brings the Monster to life by electrical charges during a lightning storm. It takes its first steps, but, frightened by Igor lighting a match, he attacks Frederick and nearly strangles him before he is sedated.
Unaware of the Monster's existence, the townspeople gather to discuss their unease at Frederick continuing his grandfather's work. Inspector Kemp, a one-eyed police inspector with a prosthetic arm, whose German accent is so thick that even his own countrymen cannot understand him,[14] proposes to visit the doctor, whereupon he demands assurance that Frankenstein will not create another Monster.
Returning to the lab, Frederick discovers Blücher setting the creature free. She reveals the Monster's love of violin music and her own romantic relationship with Frederick's grandfather. The Monster is enraged by sparks from a thrown switch and escapes the castle.
While roaming the countryside, the monster has encounters with a young girl and a blind hermit[lower-alpha 1] Frederick recaptures the monster and locks himself in a room with him. He calms the Monster's homicidal tendencies with flattery and a promise to guide him to success, embracing his heritage as a Frankenstein.
At a theater full of illustrious guests, Frederick shows "The Creature" following simple commands. The demonstration continues with Frederick and the Monster, both in top hats and tuxedos, performing the musical number "Puttin' On the Ritz". A stage light suddenly explodes and frightens the Monster, interrupting the performance. The audience boo and throw vegetables at the Monster, who becomes enraged and charges into the audience, where he is captured and chained by police. Back in the laboratory, Inga attempts to comfort Frederick and they have sex on the suspended reanimation table.
The monster escapes from prison the same night that Elizabeth arrives unexpectedly for a visit. The monster takes her captive as he flees. Elizabeth falls in love with the monster due to his "enormous Schwanzstucker".[16] While the townspeople hunt for the Monster, Frederick plays the violin to lure his creation back to the castle and recaptures him.
Just as the Kemp-led mob storms the laboratory, Frankenstein transfers some of his stabilizing intellect to the Monster who reasons with and placates the mob. After properly welcoming the Monster with his prosthetic accidentally getting pulled out, Kemp then takes the mob members back to his place for a little sponge cake and a little wine while taking a detour to the lumber mill.
Sometime later, Frederick and Inga are married. With Elizabeth's hair in a new style[lower-alpha 2], she marries the now erudite and sophisticated Monster. While in bed with Frederick, Inga asks what her new husband got in return during the transfer procedure. Frederick growls wordlessly like the monster and embraces Inga who, as Elizabeth did when abducted by the monster, begins singing the refrain "Ah, Sweet Mystery of Life" as Igor plays music from atop the castle.[17]
In a 2010 interview with Los Angeles Times, Mel Brooks discussed how the film came about:
"I was in the middle of shooting the last few weeks of Blazing Saddles somewhere in the Antelope Valley, and Gene Wilder and I were having a cup of coffee and he said, I have this idea that there could be another Frankenstein. I said, "Not another! We've had the son of, the cousin of, the brother-in-law. We don't need another Frankenstein." His idea was very simple: What if the grandson of Dr. Frankenstein wanted nothing to do with the family whatsoever. He was ashamed of those wackos. I said, "That's funny."[20]
In one of the scenes of a village assembly, one of the authority figures says that he already knows what Frankenstein is up to based on five previous experiences. This is a reference to the first five Universal films.[21] In a Gene Wilder DVD interview, he says the film is based on Frankenstein (1931), The Bride of Frankenstein (1935), Son of Frankenstein (1939) and The Ghost of Frankenstein (1942).
In a 2016 interview with Creative Screenwriting, Brooks elaborated on the writing process. He recalled,
"Little by little, every night, Gene and I met at his bungalow at the Bel Air Hotel. We ordered a pot of Earl Grey tea coupled with a container of cream and a small kettle of brown sugar cubes. To go with it we had a pack of British digestive biscuits. And step-by-step, ever so cautiously, we proceeded on a dark narrow twisting path to the eventual screenplay in which good sense and caution are thrown out the window and madness ensues".[22]
Brooks and Wilder disagreed over the sequence where Frankenstein and his creation perform "Puttin' on the Ritz". Brooks felt it was too silly to have the monster sing and dance, but eventually yielded to Wilder's arguments.[5][20]
Unlike in many of his other films, Brooks does not appear onscreen in a significant role in Young Frankenstein, though he recorded several voice parts and portrays a German villager in one short scene. In 2012, Brooks explained why:
I wasn't allowed to be in it. That was the deal Gene Wilder had. He [said], "If you're not in it, I'll do it." [Laughs.] He [said], "You have a way of breaking the fourth wall, whether you want to or not. I just want to keep it. I don't want too much to be, you know, a wink at the audience. I love the script." He wrote the script with me. That was the deal. So I wasn't in it, and he did it.[23]
Brooks and producer Michael Gruskoff originally agreed a deal with Columbia Pictures but Columbia would not agree to a budget of more than $1.75 million whereas Brooks wanted at least $2.3 million. Columbia also was not happy making it in black and white, so Brooks and Gruskoff instead went to 20th Century-Fox for distribution when they agreed to a higher budget.[21][24]
Principal photography began on February 19, 1974, and wrapped on May 3, 1974.[25] To recreate the visual style of the original Universal horror films, Brooks shot in black-and-white, employed vintage-style opening credits, used wipes and irises for scene transitions, and even used the original Kenneth Strickfaden lab equipment from the 1931 Frankenstein.[5]
Marty Feldman added a comic twist to his character, by deliberately swapping which side the hump on his back was located; when Doctor Frankenstein asks him about it, Igor replies simply: "What hump?" Wilder wrote the role specially for Feldman.[26]
Reception
Young Frankenstein was a box office success upon release. The film grossed $86.2 million on a $2.78 million budget.[3]
Young Frankenstein received acclaim from critics and currently holds a 94% fresh rating on Rotten Tomatoes based on 70 reviews, with an average rating of 8.60/10. The consensus reads, "Made with obvious affection for the original, Young Frankenstein is a riotously silly spoof featuring a fantastic performance by Gene Wilder."[27]
Vincent Canby of The New York Times called the film "Mel Brooks' funniest, most cohesive comedy to date," adding, "It would be misleading to describe 'Young Frankenstein,' written by Mr. Wilder and Mr. Brooks, as astoundingly witty, but it's a great deal of low fun of the sort that Mr. Brooks specializes in."[28]Roger Ebert gave the film a full four stars, calling it Brooks' "most disciplined and visually inventive film (it also happens to be very funny)."[29]Gene Siskel gave the film three stars out of four and wrote, "Part homage and part send-up, 'Young Frankenstein' is very funny in its best moments, but they're all too infrequent."[30]Variety declared, "The screen needs one outrageously funny Mel Brooks film each year, and Young Frankenstein is an excellent followup for the enormous audiences that howled for much of 1974 at Blazing Saddles.'"[31]
Charles Champlin of the Los Angeles Times praised the film as "a likable, unpredictable blending of slapstick and sentiment."[32] Gary Arnold of The Washington Post, who disliked Blazing Saddles, reported being "equally untickled" with Young Frankenstein and wrote that "Wilder and Brooks haven't dreamed up a funny plot. They simply rely on the old movie plots to get them through a rambling collection of scene parodies and a more or less constant stream of puns, double entendres and other verbal rib-pokers and thigh-slappers."[33]Tom Milne of the UK's The Monthly Film Bulletin wrote in a mixed review that "all too often Brooks resorts to the most clichéd sort of Carry On smut" and criticized Marty Feldman's "grotesquely unfunny mugging," but praised a couple of sequences (the flower-throwing scene and the Monster's encounter with the blind man) as "very close to brilliance" and called Peter Boyle as the Monster "one of the undiluted pleasures of the film (and the only actor ever to suggest that he might play the part as well as Karloff)."[34]
In his book Comedy-Horror Films: A Chronological History, 1914–2008, Bruce G. Hallenbeck lauded many of Young Frankenstein's scenes as classic comedy moments, and also praised the attention to detail the film shows in paying heartfelt homage to the classic horror films it references. He summed up that "Young Frankenstein is a movie for film buffs, but written, directed and performed in such a way that average Joes and Josephines can enjoy it just as much for its outrageous and wacky humor."[5]
"Walk this way"
Igor's line "walk this way" in the film inspired the song of the same name by Aerosmith.[35] According to Gene Wilder, the joke was added while shooting the scene by Mel Brooks, inspired by the old "talcum powder" joke.[36] A partially contradictory account appears in eyE Marty, Feldman's posthumously published autobiography: Feldman recalls spontaneously doing the "walk this way" shtick to make his colleagues laugh, with Brooks then insisting, despite Wilder's and Feldman's reservations, that it stay in the film.[37]
Home media
Young Frankenstein became available on DVD on November 3, 1998.[38] The film was then released on DVD for the second time on September 5, 2006.[39] The film was then released on DVD for the third time on September 9, 2014, as a 40th anniversary edition along with a Blu-ray release.[40]
The musical version was to be used as the basis of a live broadcast event on the ABC network in the last quarter of 2020, with Brooks producing, but was cancelled due to the COVID-19 pandemic.[43]
↑ Elizabeth's hairstyle is the same hairstyle sported by the titular character in Bride of Frankenstein.
Related Research Articles
Blazing Saddles is a 1974 American satirical postmodernist Western black comedy film directed by Mel Brooks, who co-wrote the screenplay with Andrew Bergman, Richard Pryor, Norman Steinberg and Alan Uger, based on a story treatment by Bergman. The film stars Cleavon Little and Gene Wilder. Brooks appears in two supporting roles: Governor William J. Le Petomane, and a Yiddish-speaking Indian chief; he also dubs lines for one of Lili Von Shtupp's backing troupe and a cranky moviegoer. The supporting cast includes Slim Pickens, Alex Karras and David Huddleston, as well as Brooks regulars Dom DeLuise, Madeline Kahn and Harvey Korman. Bandleader Count Basie has a cameo as himself, appearing with his orchestra.
Melvin James Brooks is an American actor, comedian, filmmaker, songwriter, and playwright.
Martin Alan Feldman was a British actor, comedian and comedy writer. He was known for his prominent, misaligned eyes.
Abbott and Costello Meet Frankenstein is a 1948 American horror comedy film directed by Charles Barton. The film features Count Dracula who has become partners with Dr. Sandra Mornay, as Dracula requires a "simple, pliable" brain to reactivate Frankenstein's monster. Dracula discovers that the "ideal" brain belongs to Wilbur Grey who is wooed by Mornay to the operating table, despite the warnings of Lawrence Talbot.
Bride of Frankenstein is a 1935 American science fiction horror film, and the first sequel to Universal Pictures' 1931 film Frankenstein. As with the first film, Bride of Frankenstein was directed by James Whale starring Boris Karloff as the Monster and Colin Clive as Dr. Frankenstein. The sequel features Elsa Lanchester in the dual role of Mary Shelley and the bride. Colin Clive reprises his role as Henry Frankenstein, and Ernest Thesiger plays the role of Doctor Septimus Pretorius. Oliver Peters Heggie plays the role of the old blind hermit.
Frankenstein is a 1931 American pre-Code science fiction horror film directed by James Whale, produced by Carl Laemmle Jr., and adapted from a 1927 play by Peggy Webling, which in turn was based on Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. The Webling play was adapted by John L. Balderston and the screenplay written by Francis Edward Faragoh and Garrett Fort, with uncredited contributions from Robert Florey and John Russell.
The Producers is a 1967 American satirical black comedy film written and directed by Mel Brooks and starring Zero Mostel, Gene Wilder, Dick Shawn, and Kenneth Mars. The film is about a con artist theater producer and his accountant who scheme to get rich by fraudulently overselling interests in a stage musical purposely designed to fail. They find a script celebrating Adolf Hitler and the Nazis and bring it to the stage. Because of this theme, The Producers was controversial from the start and received mixed reviews. It became a cult film and found a more positive critical reception later.
Silent Movie is a 1976 American satirical silent comedy film cowritten, directed by and starring Mel Brooks, released by 20th Century Fox in summer 1976. The ensemble cast includes Dom DeLuise, Marty Feldman, Bernadette Peters and Sid Caesar, with cameos by Anne Bancroft, Liza Minnelli, Burt Reynolds, James Caan, Marcel Marceau and Paul Newman as themselves. The film was produced in the manner of a 20th-century silent film, with intertitles instead of spoken dialogue; the soundtrack consists almost entirely of accompanying music and sound effects. It is an affectionate parody of slapstick comedies, including those of Charlie Chaplin, Mack Sennett and Buster Keaton. The film satirizes the film industry, presenting the story of a film producer trying to obtain studio support to make a silent film in the 1970s.
Gene Wilder was an American actor, comedian, writer and filmmaker. He was mainly known for his comedic roles, but also for his portrayal of Willy Wonka in Willy Wonka & the Chocolate Factory (1971). He collaborated with Mel Brooks on the films The Producers (1967), Blazing Saddles (1974) and Young Frankenstein (1974), and with Richard Pryor in the films Silver Streak (1976), Stir Crazy (1980), See No Evil, Hear No Evil (1989) and Another You (1991).
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Victor Frankenstein is a fictional character and the main protagonist and title character in Mary Shelley's 1818 novel, Frankenstein; or, The Modern Prometheus. He is a Swiss scientist who, after studying chemical processes and the decay of living things, gains an insight into the creation of life and gives life to his own creature. Victor later regrets meddling with nature through his creation, as he inadvertently endangers his own life and the lives of his family and friends when the creature seeks revenge against him. He is first introduced in the novel when he is seeking to catch the monster near the North Pole and is saved from near death by Robert Walton and his crew.
Igor, or sometimes Ygor, is a stock character, a sometimes hunch-backed laboratory assistant to many types of Gothic villains or as a fiendish character who assists only himself, the latter most prominently portrayed by Bela Lugosi in Son of Frankenstein (1939) and The Ghost of Frankenstein (1942). He is familiar from many horror films and horror film parodies. He is traditionally associated with mad scientists, particularly Victor Frankenstein, although Frankenstein has neither a lab assistant nor any association with a character named Igor in the original Mary Shelley novel. The Igor of popular parlance is a composite character, based on characters created for the Universal Studios film franchise. In the first Frankenstein film (1931), Fritz served the role; in subsequent sequels, a different physically deformed character, Ygor, is featured, though Ygor is not an assistant in those films.
The Adventure of Sherlock Holmes' Smarter Brother is a 1975 American musical comedy film with Gene Wilder, Marty Feldman, Madeline Kahn, Dom DeLuise, Roy Kinnear, and Leo McKern. The film was Wilder's directorial debut, from his own original script.
The Ghost of Frankenstein is a 1942 American horror film directed by Erle C. Kenton and starring Cedric Hardwicke, Lon Chaney Jr. and Bela Lugosi. It is the fourth film in the Frankenstein series by Universal Pictures, and the follow-up to Son of Frankenstein (1939). The film's plot follows the previous film's: Frankenstein's Monster and his companion Ygor are chased out of town. They go to another small town to encourage the younger son of Henry Frankenstein to continue his father's experiments, so that Ygor can have revenge against his enemies and his brain transplanted into the Monster's skull.
The Last Remake of Beau Geste is a 1977 American historical comedy film directed, co-written and starring Marty Feldman. It is a satire loosely based on the 1924 novel Beau Geste, a frequently-filmed story of brothers and their adventures in the French Foreign Legion. The humor is based heavily upon wordplay and absurdity. Feldman plays Digby Geste, the awkward and clumsy "identical twin" brother of Michael York's Beau, the dignified, aristocratic swashbuckler.
"Walk this way" is a recurrent pun in a number of comedy films and television shows. It may be derived from an old vaudeville joke that refers to the double usage of the word "way" in English as both a direction and a manner.
John Leonard Morris was an American film, television, and Broadway composer, dance arranger, conductor, and trained concert pianist. He collaborated with filmmakers Mel Brooks and Gene Wilder.
Young Frankenstein is a musical with a book by Mel Brooks and Thomas Meehan, and music and lyrics by Brooks. It is based on the 1974 comedy film of the same name written by Gene Wilder and Brooks who also directed and has described it as his best film. It is a parody of the horror film genre, especially the 1931 Universal Pictures adaptation of Mary Shelley's Frankenstein and its 1935 and 1939 sequels, Bride of Frankenstein and Son of Frankenstein.
Elizabeth Frankenstein is a fictional character first introduced in Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. In both the novel and its various film adaptations, she is the fiancée of Victor Frankenstein.
Victor Frankenstein is a 2015 American science fantasy horror film based on contemporary adaptations of Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. It is directed by Paul McGuigan and written by Max Landis, and stars Daniel Radcliffe, James McAvoy, Jessica Brown Findlay, Andrew Scott, and Charles Dance. The film was released by 20th Century Fox on November 25, 2015.
↑ Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. The Scarecrow Filmmakers Series. Lanham, Maryland: Scarecrow Press. p.257. ISBN978-0-8108-4244-1.
↑ King, Susan (September 9, 2014). "'Young Frankenstein' has new life on 40th anniversary". Los Angeles Times. Archived from the original on November 12, 2020. Retrieved February 18, 2020. 'Young Frankenstein' is "by far the best movie I ever made. Not the funniest — 'Blazing Saddles' was the funniest, and hot on its heels would be 'The Producers.' But as a writer-director, it is by far my finest.
1 2 Young Frankenstein – Mel Brooks Audio Commentary (DVD).
↑ Swinson, Brock (January 14, 2016). "Mel Brooks on Screenwriting". Creative Screenwriting. Archived from the original on January 21, 2016. Retrieved January 21, 2016.
James Van Hise. "Films Fantastique presents Young Frankenstein". Rocket's Blast Comicollector #146 (Nov. 1978), pp.6–14. On the writing, pre-production and filming of the picture.
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