#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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…
Plot: A young neurosurgeon inherits the castle of his grandfather, the famous Dr. Victor von Frankenstein. In the castle he finds a funny hunchback, a pretty lab assistant and the elderly housekeeper. Young Frankenstein believes that the work of his grandfather was delusional, but when he discovers the book where the mad doctor described his reanimation experiment, he suddenly changes his mind.
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When I had the opportunity Ro watch this film again after decades, due to a Cloris Leachman tribute, I couldn’t resist, despite feeling there was a risk of a familiar problem: that of me not liking a program or movie as a mature adult as much as I had as a young man.
I needn’t have worried. This is not Mensa material here, but it is a good example of what Mel Brooks did best, spoof movie genres or other cinematic cliches.
Everyone seems to have great fun making this movie, and it shows. Some of the bits have become catch phrases: the horse neighing when a certain name is mentioned, the hilarious sight gag of the secret door (“Put the candle back!), and other classic lines. This doesn’t make any of my Favorites list, but it was well worth revisiting it for the laughs and a glimpse at what my younger self thought was funny, and older self agrees with him.
For what we are about to see next, we must enter quietly into the realm of genius.
Young Frankenstein is directed by Mel Brooks who also co-writes the screenplay with Gene Wilder. It stars Wilder, Marty Feldman, Peter Boyle, Teri Garr and Madeline Kahn. Music is by John Morris and cinematography by Gerald Hirschfeld.
Filmed in black and white, Brook’s movie is an affectionate spoof of the Frankenstein movies that came out of Universal Studios back in the 1930s.
There wolf, there castle.
You are either a Mel Brooks fan or not, there doesn’t seem to be any middle ground. However, even his most ardent fans admit not all of his productions have paid dividends, but when on song, as he was in 1974 (Blazing Saddles also released), it’s justifiable that those fans proclaim him as a spoof maestro. Ineviatbly a bit tame when viewed today, Young Frankenstein is still a picture of high comedy and clinical execution of the film making craft. Everything works, from acting performances, the gags that are both visual and aural delights, to the set design of the Frankenstein castle. It also boasts a smooth storyline, this is not a hodge-podge of ideas lifted from those Universal monster classics, it has a spin on the story and inserts its own memorable scenes along the way (Puttin’ on the Ritzzzzzzzz, Oh my!).
Of its time for sure, but still great entertainment for the Mel Brooks fan. 8/10
Possibly Mel Brooks’ Best Film
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.
Mel Brook’s most stylish and consistently funny film
For my marathon of Non-Dracula Transylvania-based films I recently experienced(that’s the only real way to describe it)Polanski’s ‘The Fearless Vampire Killers’. A great film to be sure, but not a very successful one in the comedy department, which is a shame since it’s a huge problem in an otherwise fine film.
It may count as cheating since I’ve been a fan of *this* film since adolescence, but even after all these years, I knew I would encounter no such problem in this Mel Brooks classic.
‘Young Frankenstein’ has the distinction of being one of those few comedies which can be just as funny for those who have never seen the source material that’s being spoofed(No problem for me as I was a fan of the Universal horrors since I was even younger and had read the book even earlier), and that still offers plenty of insight for those who have. And as unpromising as it sounds to make a comedic send up of Universal’s horrors, which had displayed their ability to laugh at themselves as early as 1932; it ironically emerges as the very model of how to do a successful parody, and even more amazingly, it also offers some surprising insight into the themes of the Frankenstein legend itself, or at least; much more than Kenneth Branagh’s overrated ‘faithful’ adaption ever did.
The plot is basically a comedic remake of Rowland V. Lee’s ‘Son of Frankenstein'(1939). The set-up is virtually the same: A descendant of the original Doctor(Gene Wilder)returns to his family castle where he is ostracized by suspicious villagers led by a one-armed inspector(Kenneth Mars) and is coerced into taking up his ancestor’s mantle by an unhinged former associate. The difference is that the protagonist is the grandson of the original monster-maker, the Ygor character(Marty Feldman, whose character actually is more closely patterned after Dwight Frye as Fritz & Karl than he is Bela Lugosi as Ygor) is benevolent and rather it is a sinister housekeeper(Cloris Leachman) who influences the protagonist, it also involves the creation of a new monster(Peter Boyle, giving a comedic take on the monster that is worlds beyond Clancy Brown’s in ‘The Bride’) rather than the reviving of the original one. This doesn’t stop Brooks from managing to work in references to the original from 1931 and the 1935 sequel. In less skilled hands this could have been disastrous, but thankfully Brooks was hip to the fact that 1935’s ‘Bride of Frankenstein’ was already a horror-comedy, and he wisely didn’t attempt to poke fun at things already meant to be funny. Instead he does his best to IMPROVE them. It’s this approach that shows that Brooks is smarter than your average satirical filmmaker, and it’s what separates him(well, besides actually being talented) from the myriad of other ‘satirists’ who would have either attempted to point out ‘flaws’ the original filmmakers were clearly aware of(Mst3k), lifted scenes verbatim(Wayans Bros.)or made up random unfunny jokes that had nothing to do with what was being spoofed(Friedberg & Seltzer).
What’s also remarkable is that, if one overlooks some small continuity issues(which the original Universals were JAM-PACKED with)such as names and locations(It’s because this film takes place in ‘Transylvania’ that I am reviewing it for this marathon), as well as the comedic tone; this could actually be seen as a follow-up to the first 3 Universal Frankenstein films. Just imagine Gene Wilder’s character as an adult version of Donny Dunagan from ‘Son of Frankenstein’ with a changed name(He mentions being embarrassed by his lineage and this leads to a running gag where he insists his name is pronounced ‘Fronkensteen’, making him not a self-hating Jew, but a self-hating mad scientist…who’s also a Jew)to escape publicity and it works. They even have the same curly hair and Americanized personality. This suggest Brooks was aiming not at a mean-spirited comedic attack on decades old films, but at a loving homage/sequel to them instead. I can respect that.
I could ramble on all day at how well it does justice to the original films and even the novel(For example; lots of people mention how when the Monster says ‘You are my creator but I am your master’ to Victor in the book how the Monster is in some ways a twisted reflection of Victor in that he exceeds him in all levels, proving more cunning, more sympathetic, more powerful and even has longer ‘lustrous black hair’ and how he actually succeeds in ‘nailing’ Elizabeth’ by killing her long before Victor ever has sex with her; suggesting that the Monster, through a symbolic rape, is even better in bed than his creator! In ‘Young Frankenstein’ this subtext becomes overt: Here, the Monster DOES ‘rape’ Elizabeth, and she falls in love with him because of his ‘Enormous schwanstucker’ and deserts the doctor, leaving him to marry a busty servant girl(Terri Garr) he was sleeping with anyway)but, I think I’ll rap up by saying that this film is as perfect as a parody can get, good atmospheric music, great production values and Oscar-worthy performances by all.
Still, as much as I like experiencing ‘local color’ in foreign countries, and as much as I enjoyed Kenneth Mars’s character, I hope that the Romanian police don’t have accents THAT thick when I visit.~
Original Language en
Runtime 1 hr 46 min (106 min)
Director Mel Brooks
Writer Gene Wilder (screen story and screenplay), Mel Brooks (screen story and screenplay), Mary Shelley (based on characters in the novel “Frankenstein” by)
Actors Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn
Awards Nominated for 2 Oscars. Another 11 wins & 6 nominations.
Production Company Twentieth Century Fox, Gruskoff/Venture Films, Crossbow Productions
Sound Mix Mono (Westrex Recording System)
Aspect Ratio 1.37 : 1 (original & negative ratio/matted to 1.85: 1), 1.85 : 1 (theatrical ratio)
Camera Panavision R 200
Laboratory DeLuxe, Hollywood (CA), USA
Film Length 2,905 m (Finland)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm