A young neurosurgeon (Gene Wilder) inherits the castle of his grandfather, the famous Dr. Victor von Frankenstein. In the castle he finds a funny hunchback called Igor, a pretty lab assistant named Inga and the old housekeeper, frau Blucher -iiiiihhh!-. Young Frankenstein believes that the work of his grandfather is only crap, but when he discovers the book where the mad doctor described his reanimation experiment, he suddenly changes his mind... Written by
Flavio Rizzardi <firstname.lastname@example.org>
According to Mel Brooks, the studio tried tricking him into shooting the film in colour. "They said 'Okay, we'll make it in black and white, but on colour stock so that we can show it in Peru, which just got colour. And I said 'No. No because you'll screw me. You will say this and then, in order to save the company, you will risk a lawsuit and you will print everything in colour. It's gotta be on... black & white thick film." See more »
As Frau Blucher frees the Monster from the operating table, she caresses the top of his head with her right hand, but in the inserted shot of the Monster's head from her POV, her hand is not there. See more »
[singing, while having sex with the monster]
Oh, sweet mystery of life at last I've found you! At last, I know the secret of it all!
See more »
The zero in the 20th Century Fox logo at the beginning is slightly tilted See more »
Over 30 years later this film still provides a ton of laughs to audiences.
It's always good to see the late Marty Feldman, whose face was hysterical and perfect for this film. In fact, he, along with the camera-work, really make this film one to watch and enjoy multiple times. Teri Garr was at her best and never looked as pretty as did in here. Add in the great talents of Gene Wilder, Madeline Kahn, Gene Hackman, Peter Boyle, Cloris Leachman, etc., and you have a memorable movie with a lot of memorable scenes.
Looking at the Frankenstien "monster" in a tuxedo or sitting up in bed with a cigar reading The Wall Street Journal are just a few of the outlandish scenes, along Wilder entering the mansion commenting on the "nice knockers."
Kudos, also, for Mel Brooks having the good sense to film this in black-and- white. It may have been his best film, although "Blazing Saddles" would give it a run for its money. My only complaint was Wilder's constant yelling, which becomes abrasive and can give you a headache after awhile! Still, this has to be considered one of the best "comedy classics" ever.
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