No. 2: “Young Frankenstein” (1974)

“For what we are about to see next, we must enter quietly into the realm of genius.”  ~~Frederick Frankenstein*

Mel Brooks is a tricky, tricky director. People rarely notice this in his films (they are too busy trying to regain bladder control lost to uncontrollable laughter), but it’s true. He hits you hard with the pratfalls and lines like “Werewolf? There wolf,” and while you’re revelling in the exquisite craziness of it all, he sneaks in things like parody and, on occasion, when the planets and the stars all align, a smidgen of (dare I say it?) satire.

Then again, parsing for subtext in a Mel Brooks creation is madness in itself. He’d have my head. Or worse, he’d (eek) crown me the first female mayor of Rock Ridge for overthinking the likes of “Young Frankenstein,” a ripsnorter of a comedy that sends up Hollywood monster movies with dazzling wit and characters like Frau Blücher, whose very name inspires terror in the hearts of horses everywhere. Because, really, aren’t those things reason enough to enjoy “Young Frankenstein,” arguably Mel Brooks’ zaniest, funniest and most beloved creation?

The answer: Yes, yes, for the love of Igor’s dear ole’ dead dad yes. There are surface-level pleasures aplenty to delight the ears, eyes and the funny bone. Ponder the setup: Dr. Frederick Frankenstein, a neurosurgeon who’s spent years trying to live down his grandfather’s infamous experiments, discovers he’s inherited the old, discredited embarassment’s castle. Even worse, this inheritance comes with a collection of oddballs so nutty only a kook like Mel Brooks could dream them up: Igor (a brilliantly comic Marty Feldman), the grandson of the elder Dr. Frankenstein’s assistant who has a perpetually shifting hump; the housekeeper, Frau Blücher (Cloris Leachman), whose interest in the departed doctor may have been more than professional; and Inga (Teri Garr), a blonde bombshell/lab assistant who loves rolls in the hay (literally, not figuratively). Inherited, too, are the fiery resentments of the neighboring townsfolk, who appoint Herr Falkstein (Kenneth Mars) to snoop about the castle and discover whether or not Frederick possesses the same off-the-grid mad scientist instincts his grandfather did. When Frederick’s high-maintenance wife-to-be Elizabeth (Madeline Kahn) turns up unexpectedly, afraid he’s two-timing her and then certain he is when she glimpses Inga’s, uh, knockers, things get … hairy.

It’s nearly impossible to pin down what’s so great about “Young Frankenstein” because everything is great. Sounds crazy, right? Maybe so, but the movie just flat-out works. As an ensemble cast film, “Young Frankenstein” is flawless. Everyone’s in rare, fine form here, from the cameos (it takes several looks to deduce the actor playing Blindman) up to Gene Wilder, whose balance of screaming hissy fits and professional arrogance are wonderfully entertaining. Comic timing all-around is a thing of beauty, particularly as used by the late Kahn (the train station “taffeta, darling” sequence is genuis). Special praise must go to the late Feldman for going all-noble as Igor, a sly mischief maker who delights more in mocking his new employer than catering to his whims. “It’s pronounced ‘Eye-gor,'” he smugly informs Frederick, picking at the sore that is the young doctor’s last name. Such wit that Feldman had; it lights up the whole screen.

“Young Frankenstein” works on other levels as well. It’s a terrific parody of Hollywood’s monster films, poking fun at all the cliches — the creepy drafty castle! the dramatic-yet-ominous score! the shadowy secret passageway! — and the stock characters — the evil scientist, the mysterious housekeeper, the mindless monster — and taking no prisoners in the process. Yet “Young Frankenstein” also is something of a love letter to these movies, filmed in black and white with great care and attention to detail. The characters are crazy — would you expect anything less from Brooks? — but somehow still empathetic and lovingly etched. The monster (Peter Boyle) proves no better or worse than the scientist. So, sure, we laugh at these characters, but we love them, too. They make “Young Frankenstein” not just a great, timeless comedy, but a great movie period.

*It’s pronounced “Fronkensteen.”

(A special thanks to my parents, who had the good sense to introduce me to the wild, wild world of Mel Brooks at an impressionable age. Excuse me, folks. I just had to whip that out.)

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6 Responses

  1. Young Frankenstein is one of my favourite shows. I know all the words by heart so it was nice to remember again in your post. Thanks for bringing back some fond memories about Young Frankenstein . This weekend I’m going to visit my sister and we get pretty good tickets to attend it again so I’ll be analyzing as well as enjoying that show. Here: http://www.ticketwood.com/theater/Young-Frankenstein-Tickets/index.php

  2. This is definitely my favorite Mel Brooks and I believe his best (sorry Blazing Saddles fans).

    Looks like your parents weren’t the only ones to start a fellow movie lover on the road to “fine cinema” at a young age. Good on you to give them some credit:P

    “You take the blonde, and I’ll take the one in the turban” classic!

    • “Young Frankenstein” has a special place in my heart. My favorite parts have to be: the “sedagive?!?” sequence; Marty Feldman busting out with “I Ain’t Got Nobody”; Frederick’s freakout while locked in the room with his monster; and Frederick’s dart game with Inspector Kemp.

      Every time I watch this one, though, it makes me so sad that Kahn, Boyle and Feldman aren’t around anymore. What huge losses to the film world.

  3. I’ve found as I go back to Mel Brooks’ work that he doesn’t hold up all that well. Young Frankenstein is one of the few that does, it’s not perfect by any means, but I’d have to say it’s my favorite Brooks and his best.

    • I won’t lie — it hurts my heart to hear someone say that about Mel Brooks! I’d argue that his movies deserve to be up on the pedestal with stuff like “Citizen Kane” precisely because they age so well; they stand the test of time. There are a few exceptions, like “Robin Hood: Men in Tights,” but for the most part I find new things to love about his movies every time I watch them.

      But we are in total agreement about “Young Frankenstein” — it’s his magnum opus. Although Mel would smack me for saying something that uppity.

  4. […] Y is for “Young Frankenstein” […]

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