Young Frankenstein is a film that is in a class by itself. There have been other comedy versions of horror films, but never one even remotely as artistically successful. It is considered by some (including the director himself) to be Mel Brooks’ best effort. An estimation that I agree with without reservation. It is an affectionate parody of the classic Frankenstein and has become a classic in its own right. Young Frankenstein has even been recognized by the American Film Institute as one of the funniest American comedies ever made.
The brainchild of Gene Wilder who then collaborated with Mel Brooks on writing the script, the film is greater than the sum of its parts; its parts being near perfect. The cast was the strong suit: Wilder as Frederick Frankenstein, Peter Boyle as the Monster, Marty Feldman as Igor, Teri Garr as Inga, Cloris Leachman as Frau Blucher, and Madeline Kahn as Frederick’s wife, Elizabeth. There was also an inspired unbilled cameo by Gene Hackman (Hackman was not credited in the original theatrical release) as the blind hermit that has become one of the best known bits from the film. The Hermit’s last line, “I was going to make espresso.” was not in the script and the scene immediately fades to black due to the burst of laughter from the crew during the shot. They tried reshooting but Gene Hackman couldn’t get through it without laughing, so they used the initial take, adding the quick blackout. Also ad-libbed in the film to great success were Cloris Leachman’s (Frau Blücher) lines, “Varm milk” and “Ovaltine?” to Dr. Frankenstein.
From Marty Feldman’s Igor (left) to Peter Boyle’s Monster, Wilder & Brooks don’t miss a trick. Some of the jokes are obvious, but still work. Teri Garr as Inga (below left) is a wonderful take on the scream queens of the past. She brings her natural sense of comedy and comic timing to the role.
Although she initially thought that the German accent she picked up from Cher’s wigmaker (Garr had been a dancer on The Sonny & Cher Comedy Hour) was responsible for her getting the part, she later she opined, “The part was all about boobs.” I think it was her talent and beauty and ability to play comedy that got her the role. She had also said she didn’t like working with Gene Wilder and this may have colored her judgement.
Gene Wilder & Terri Garr (above left)
It is my favorite of her films along with After Hours (1985). In addition to the exceptional cast, the beautiful production and exquisite black and white photography by Gerald Hirschfeld also deserve attention. Mel Brooks was able to get the original electronic equipment of the laboratory through Ken Strickfaden. Strickfaden had made the equipment for the original Universal Frankenstein films and still had it stored in his garage. He was never credited in the original film, but was finally credited in Young Frankenstein. The original components complimented the overall production design by Dale Hennesy (Logan’s Run). The score composed by John Morris was both dramatic and playful and avoided triteness. From the opening credits, the plaintive violin portends the grave parody of the tale about to be told.
Cloris Leachman was seriously sinister and slyly slapstick as Frau Blucher who was modeled on Mrs. Danvers from Hitchcock’s Rebecca (1940), and yet fit in perfectly portraying a new character she made memorably her own. This was not the only element not from a Frankenstein film. The climax where Fredrick and the Monster are on stage singing Putting on the Ritz is a parody of the famous scene in King Kong where Kong was displayed on a stage in front of a live audience. Wilder imagined this song and dance and got resistance from Brooks who fortunately gave in, because it is one of the funniest scenes in the film.
Marty Feldman is the perfect Igor (pronounce Eye-gor) who is anything but helpful to Dr. Frankenstein. His shenanigans range from the famous “walk this way” scene (which inspired Aerosmith band members to compose their hit song, Walk This Way), to dropping the normal brain and substituting it with an abnormal one.
Madeline Kahn’s portrayal as Elizabeth, the fiancé of Frederick and mistress of the Monster was a high point in the film. From the moment she arrives at the castle, she is aware that something is going on between Frederick and Inga, his lab assistant. She asks just what assistance Inga provides in the lab, but Inga is quickly cut of by Fredrick before she can reply.
Elizabeth sends Fredrick away from her bedroom because they are yet unwed, and the Monster enters through her window. He takes her off to a cave where we see her hair is already streaked with gray from fright. Then he exposes himself and she is singing Oh Sweet Mystery of Life. Moments later they are smoking cigarettes.
The next time we see her, she is the Bride of Frankenstein, and yes, that is the Battle Hymn of the Republic she is humming. Being a bizarre choice (selected by Brooks because it was in the Public Domain), Khan’s sultry intonation makes the song seductive in a way that only she can achieve.
Josephine Hutchinson in Son of Frankenstein 
Terri Garr in Young Frankenstein
Mel Brooks claimed that the film was based on the first five Universal Frankenstein films, but I found there are more similarities in Son of Frankenstein (1939). In fact, Young Frankenstein could have been called Grandson of Frankenstein because of the genealogy. First, there is an uncanny resemblance of Terri Garr to the actress Josephine Hutchinson who played Baron Frankenstein’s wife in Son of Frankenstein.
Then, there is also the character of Inspector Kemp who is played with comic aplomb by Kenneth Mars (left). Mel Brooks said he hired him as soon as he agreed to play the part with the monocle on the eyepatch. The character he is parodying was played by Lionel Atwill (below) and was called Inspector Krough in Son of Frankenstein.
Several other similarities tie Young Frankenstein neatly to Son of Frankenstein:
The character Krough was first introduced in Son of Frankenstein. Krough, like Kemp had his artificial arm yanked out by the Monster. The character Ygor played by Bela Lugosi was also first introduced in Son of Frankenstein and becomes Igor in Young Frankenstein,
presumably to be able to make the “eye” joke at Marty Feldman’s expense.
The last film in the Universal Frankenstein series was the comedy, Abbott & Costello meet Frankenstein. It seems appropriate that following the Hammer series of Frankenstein films the most popular retelling of the story is also a comedy.
NEXT: Rocky Horror Picture Show, Gothic, and Mary Shelley’s Frankenstein.
