Classic Films: Young Frankenstein.
Back in 1974, there would have been a conversation that went something like this:
Film Director, “I want to remake Frankenstein.”
Guy with money, “Okay. Been done to ad nauseam that one. How are you going to make it different?”
Director, “It’ll be a comedy.”
Money Guy, “Riiiiiight….. A comedy, you say?”
Director, “Sure. It’ll be a hoot! I’ll parody loads of the original material, stick in a few double-entendres and silly accent – people will love it!”
Money Guy, “I’m not so sure… I mean, Frankenstein is a classic.”
Director, “Okay, if you’re worried, I’ll shoot it in black and white; make it more authentic.”
Money Guy, “Okay. Okay. That might work.” Laughs nervously. “I mean, it’s not like you’re gonna have the monster dressed in top hat and tails singing Putting On The Ritz.”
Awkward silence from Director.
Money Guy, “Oh, dear God…”
Okay, so the conversation between Mel Brooks and the guys at Fox may not have been precisely like that, but I can see there having been some raised eyebrows when he raised the idea. As it was, he got the go-ahead and a movie gem was born. I first encountered Young Frankenstein about twelve years after its release when it was screened as part of a Mel Brooks season on TV and I immediately fell in love with it’s insane frivolity and it’s ability to throw all common sense to the wind in order to grab a belly-full of laughs. Even now I struggle to watch serious adaptations of the book. Two years ago, I went to watch the Danny Boyle production of Frankenstein starringBenedict Cumberbatch. When they reached the scene with the blind man all I could think of was Gene Hackman setting fire to Peter Boyle‘s thumb! I got some very annoyed looks as I had to stifle my giggle loop.
The film just works on so many levels, especially with the casting. Boyle played the towering creature with such believability. Gene Wilder, as Frankenstein (sorry, Fronkenshteen), was as hapless in love as he was in re-animation. The sadly-missedMarty Feldman was just perfect as Igor (Loved the Abby Normal gag, and the movable hump had me on the floor it fits). Even the side characters seemed to fit together perfectly as a complete comedy jigsaw with no annoying missing pieces.
For me, the overall quality that Brooks brings to this film is that it is okay to laugh, even when the subject material is what many would consider to be dark. This has influenced me a lot in my own writing, especially in The CaseBook Of Sam Spallucci. Yes, we need serious moments in our lives which we have to ponder about and stroke our proverbial beards over, but we also require moments that reduce us to tears of complete and unadulterated mirth. This is why I regard Young Frankenstein as a classic film and why I have watched over and over again, sharing with anyone who happens to listen. I say to you now, if you’re feeling blue, just watch the following clip. You’ll never listen to the music of Irving Berlin again without smiling.
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