Thought it’d be a good time to revisit this, following the sad news of Gene Wilder’s death.

On the face of it, Young Frankenstein is a simple parody of big old studio horror films, but as soon as the film starts rolling it immediately becomes clear that it’s more homage than satire.

The set design, the music and even the film stock used have all been carefully pored over by Brooks and Wilder, with the end result being a loving tribute to old Hollywood rather than a scathing mockery. There are no cheap shots here, and this is probably what makes this film a timeless classic compared to some of its peers.

Aside from the film-stealing cabaret sequence, the humour is surprisingly low-key. The biggest laughs come from the simplest of glances, the quick one-liners and the subtle detail. It’s all about actors reacting to each other, rather than hamming it up.

Brooks once again displays his flair for directing comedy. I particularly love the way he handles bawdy jokes, like an uncle telling you stuff you shouldn’t be hearing. Even the most ardent PC Nazis can’t help but laugh.

A one-of-a-kind masterpiece to be enjoyed for many years to come.

http://benoliver999.com/film/2016/09/01/youngfrankenstein/

I'd probably best start by saying that I love the writing of Mel Brooks, but I detest the acting style of Gene Wilder - so my views on this are somewhat mixed. It is a spoof - and James Whale ought to be writ large in the credits, as should Glenn Miller and a host of others who have inadvertently contributed to the wonderfully paced script that rarely draws breath. Wilder - the grandson of the eponymous, famously mad scientist - decides to visit Transylvania where he stumbles upon a formula that might just bring the dead back to life. In my view, the acting plaudits go to Marty Feldman, who is great as henchman "Igor" trying desperately to foil the over-the-top antics of the star - who just seems to play each role he takes on in the same, super-hammy, fashion with big eyes and loud, grand gestures that I find most unfunny. Coupled with Brooks, they are, however, on cracking writing form and as parodies go this sets up the whole genre - sometimes overtly and sometimes subtly, but regardless - when you listen to the dialogue you can't help but laugh. For me, it could have done with a less annoying star - but the writing has stood the test of time well and is still very much worth a watch.

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

_"My grandfather's work was doo-doo!"_

Quite possibly the most overrated comedy film in existence. I don't understand why the masses are so enamored with it. I almost gave it one less heart. I know I hardly laugh at comedy films, to begin with, but I can still grasp if I thought it/something was funny. This film didn't even accomplish that except with one scene: when Igor went feral on Elizabeth. I also let out a little chuckle on that scene. I remember seeing the blooper (possibly bloopers) for that scene; Gene Wilder was cracking up, and it was even funnier. I'd imagine that one took the most takes to do. Two other instances were good: the one where Frederick is having a nightmare (I've seen the blooper or bloopers for that, too) and the one where he's getting tossed around.

Besides that, this film was (dare I say) boring, especially when the focus was on The Monster by himself; that was mind-numbingly boring. It seems to have aged and deteriorated alarmingly quickly, to the point of defying any and every scientific basis and belief. And the crowd gasped, never having heard such blasphemy, nor had such blasphemy dared to enter what's considered most sacred of all: the organs named ears which were possessed by all.

Seriously, though. I didn't find this film engaging. I suppose, with comedy films, there isn't a need for that, a need to make it engaging: because the comedy should distract from that, keeping you entertained instead. But what about when the comedy fails to do that?

After _Blazing Saddles_, you'd think Mel Brooks is capable. You'd think that he could do no wrong, that every film of his would be similar. Wrong. You fell for the illusion. I'm baffled this film came out at the end of the same year _Blazing Saddles_ did. It didn't seem Mel Brooks-esque at all. It's like someone tried cloning him but had a dunce like Igor help with the process, resulting in a colossal failure. At least there was _Robin Hood: Men in Tights_ years later.

And despite there only being that one scene I thought was funny (and even chuckled at) and two others that were similar, Gene Wilder (who reminds me of Ryan Gosling, or rather the other way around) elevated the viewing experience tremendously. His performance added some flavor to a bland dish. It was not only good acting but also enjoyable and entertaining to watch. I suppose Madeline Kahn accomplished that, too. She should've had more screen time. Teri Garr, Marty Feldman, Peter Boyle, Cloris Leachman, and Kenneth Mars were all fine, although Frau and Inspector Kemp were borderline annoying because of the equally borderline-annoying accents.

So, my opinion of this film is that it's overrated. Naturally, there were some things to give credit to, but it's one of the weakest films I've watched. I'm not angry; I'm just disappointed.