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>
Teri Garr originally auditioned for the role of Elizabeth, the fiancée, while Madeline Kahn, was the front-runner for Inga, the assistant. But Kahn ultimately decided she'd rather play Elizabeth, leaving director Mel Brooks with the task of recasting the Inga role. Undaunted, he called Garr in and told her that if she could come back the next day with a German accent, he'd like her for the part. She looked at Mel and said, "Vell, yes, I could do zee German ackzent tomorrow - I could come back zis afternoon" and the part was hers. Garr has said that she based her accent on Cher's wigmaker whom she worked with on The Sonny and Cher Comedy Hour (1971). See more »
As Frau Blucher escorts Inga, Igor, and Frankenstein into the castle, the horses whinny at the mention of her name. Cloris Leachman can be seen putting a hand to her mouth to stifle a laugh as the scene fades to black. 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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