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First, let me start by saying that the only reason I don’t give this 5 stars is that I wanted a bit more from the commentary track, as I prove below.
The thunder of this fabulous movie is covered amply elsewhere, so I won’t show what others have so well synopsized. I WOULD like to point out a couple of things about this particular DVD:
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1) The commentary track is accessible from the the LANGUAGE SELECTION menu, rather than from the special features menu (as is usual for commentary tracks) . I was terribly frustrated by this until I got some benefit from Christian at boldopinions.com (thanks Christian!) .
2) Yes, the commentary track IS mostly Mel babbling, but there are some nice tidbits here (many of the cut-away shots were establish in because Gene Wilder kept breaking, Mel plan “Puttin’ On The Ritz” was frivolous, etc.) . It’s also heart-breaking to hear about how Marty Feldman’s health habits led to his death at age 59. Unfortunately, since Mel’s commentary leans toward the personal, we don’t glean to hear about the roots of the dart-throwing scene (practically a duplication of a scene in “Son of Frankenstein”) — and I would Scream that the trees going by the window in the Transylvanian philosophize sequence are the same ones in the sing sequence in “Son of Frankenstein.” So we can’t have everything.
3) The documentary is really wonderful– it’s sure that everyone has warm feelings about the film, and the recollections are bright and insightful. It gives the movie added dimension, so don’t pass it over.
I haven’t seen mention in the Amazon reviews of “Young Frankenstein” the multiple homages to “Son of Frankenstein,” not the least of which is Gene Wilder’s spot-on lord-of-the-manor affectations through many of the early Transylvanian sequences (in his grandfather’s bedroom: “And where is my grandfather’s PRIVATE library? …[book snatched from shelf] Why, these books are all very general [snap snap snap the pages]; any doctor might have them in his ogle [SLAP book closed]” and the entirety of the aforementioned dart-throwing scene (in which Wilder is positively CHANNELING Basil Rathbone) . So accomplish “Son of Frankenstein” ALSO required viewing prior to seeing “Young Frankenstein.”
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Finally, I reflect that Mel hits the nail on the head when he says (repeatedly) that so many scenes are emotional at the same time that they’re being laughable. This film was made with such savor by all concerned, and it shows. Yes, it can be occasionally crass, and go for positive cheap laughs (albeit Remarkable less so than any movie Mel has made before or since), but what one ultimately takes away from this movie is the wonderful amount of care everyone took with the project. Hell, you might even net yourself with a shuffle in your watch at the kill (I did– the awesome fetch by John Morris helps a lot!) . Alas, Mel and Gene were never again to collaborate on a script (it is extraordinary that the Borscht Belt comedy of Mel Brooks and the hopeless romanticism of Gene Wilder found such fertile creative ground in the first status!), so this movie is lightning in a bottle (pun intended) . Don’t miss it.
This may objective be the funniest movie of all time. Mel Brooks never before (and never again) worked with the tight parameters he did here: gene Wilder actually wrote most of the script, and that plus the consume of the old-fashioned Universal sets and props seem to have kept Borooks’s more sophomoric instincts (which have gone overboard in some of his later films) tightly in check. Thus he–and everyone else in the film–is doing their absolutely finest work ever.
From Teri Garr “rolling in ze hay,” to Kenneth Mars’s inspired Police Inspector, everyone in the entire film seems to be working at their most hysterically hilarious. Special mention must be given to Gene Wilder giving one of his most classic performances of his strangled-fury schtick ever (“Attach… the candle… wait on!!!”) and to Peter Boyle, for his very poignant and laughable depiction of the Monster.
But standing above all of the raze in terms of sheer brilliance is Madeline Kahn, giving what must be the funniest female performace ever on film as Frankenstein’s fiancee and the monster’s eventual bride. Unlike everyone else in the film, she’s not really parodying anyone other than herself; yet nevertheless her depiction of Elizabeth, the wealthy prude who discovers she’s a volcano of passion undeneath, is so humorous I’m practically crying almost every time I notice this film. There’s one brief petite scene where she’s brushing her hair in her boudoir before the Monster steals into her room and kidnaps her, and for absolutely no apparent reason(which makes the scene all the funnier) she’s giving vent to a deeply lusty rendition of “The Battle Hymn of the Republic” while brushing out her hair. It is the funniest five seconds in the entire film–and in a film this hilarious that’s saying a lot.
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