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Late to the Party: Young Frankenstein (1974)

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Though I would never be confused with an aficionado, someone who had consumed every film or book helmed by Gene Wilder, I felt the cinematic magnitude of his death on August 29. Much like virtually everyone who’d seen Wilder in films like Blazing Saddles, The Producers, Willy Wonka and the Chocolate Factory and Stir Crazy, I was a fan.

Few had ever been as calm and gentle or as warm and funny as Wilder, so thoughts of his collaborations with Mel Brooks and Richard Pryor began dancing through my head along with the desire to revisit some of those phenomenal works of comedic genius.

That’s when my mind turned to a friend who was constantly quoting Space Balls and History of the World: Part I, and urging me to sample more Brooks fare.

With that in mind, I instantly ran out to pick up a copy of Young Frankenstein, another flick said friend chuckled about often, and was not disappointed.

The film’s premise was that Wilder was a brilliant scientist doing all he could to make the world forget the madman antics of his grandfather, but once given the opportunity, had the “itch” to determine whether he could see reanimation through without the catastrophic end of his predecessor.

For the life of me, I can’t recall who’d said it on Twitter, but they’d noted that the ultimate compliment they could pay Jaws was that they would gladly watch a feature film centered on any of the main characters from the Steven Spielberg classic. That sentiment holds true for me with Young Frankenstein.

Ensemble casts are almost always a joy, with varied talents on display for our delightful consumption, and Young Frankenstein may be the best of the bunch.

Though Brooks did not appear on screen for this film, his voice could be heard off camera on several occasions, and his decision (along with Wilder’s) to pay homage to the Boris Karloff and Elsa Lanchester-led Frankenstein films while satarizing them was spot on. The call to move forward in black and white with an exaggerated look from the original pictures was one questioned by the studio at the time, but in retrospect, was absolutely spot on.

It gave the film an old time feel, and as with all Brooks projects, it glowed with the atmosphere and charm of a stage production. And the stage is the finest venue to showcase immeasurable talent.

yfCalm and composed with the occasional moment of lunacy, Wilder was incomprable. From the insistence that his last name be pronounced Fronken-steen so as to distance himself from his “cuckoo” grandfather to “mother-grabbing” knees to the groin of a subdued test subject to “Put the candle back,” Wilder was at his best, which is a profound statement.

Of course, Wilder had written the original screenplay, but once he and Brooks developed the final project, it was a veritable smorgasbord for a cast which proved absolutely ravenous.

The laughs are legion with Marty Feldman, whose eyes alone could have been a character unto themselves, a fact not lost on Wilder or Brooks. Feldman was masterful in countering Wilder’s pronunciation of Frankenstein with Eye-gore, and his own idea to switch his character’s hump from one side to the other throughout was pure genius. In a way, the whole film revolved around Feldman.

However, Feldman was not alone with regard to standout performances, and their praises must be sung.

Teri Garr’s German accent and sexual innuendo never seemed forced, and lingered just long enough for the audience to catch the meaning and laugh as the group moved to the next joke.

Whereas Inspector Kemp was a necessary character which could have been a throwaway, Kenneth Mars gave it the Benicio Del Toro treatment twenty years before we even knew who Fenster was. Mars gave the good inspector a robotic way of moving and almost indecipherable manner of speech that ate up the screen whenever he was appeared in a scene.

Cloris Leachman’s improvisational Ovaltine and the running gag of Frau Blucher never got old, and the intensity with which she straightly played the character was creepy and hysterical at once.

Though Peter Boyle was known best as Ray Romano’s father from “Everybody Loses Raymond,” his portrayal of the monster brought the whole film together. While physically imposing, it was Boyle’s wry smirks and joke set-ups that landed the largest laughs. With top hat and tails and a grunted “Puttin’ on the Ritz,” a brief but unforgettable scene with Gene Hackman and glance at the audience after the little girl by the lake asked what else they could toss into the water, Boyle’s timing was spot on with (almost) nary a word spoken.

I’d be remiss, however, if I didn’t focus attention on Madeline Khan. The woman was an absolute marvel. Who has ever been funnier than Madeline Khan? The perfect combination of beauty, talent and hilarity, Khan absolutely destroyed every moment she was featured, and my biggest laugh came from the schwanzstucker payoff when Khan broke into “Oh, Sweet Mystery.” All of Khan’s innumerable talents were on display in Young Frankenstein, not the least of which was that voice. It cannot be stressed enough — though Madeline Khan may no longer be with us, referring to her skills in the past tense would be an injustice — she is a national treasure.

The brilliance of Wilder and Brooks were on full display with Young Frankenstein, and the ensemble cast offered a humor and charm that cannot be replicated. The theatrical background of Wilder and Brooks was palpable throughout, and the finished product was the better for it.

If you have not seen Young Frankenstein, I implore you to remedy that as quickly as possible, because it opened the door for The Evil Dead franchise, Shaun of the Dead and Zombieland, and is perhaps the finest horror comedy ever produced.

Be sure to check back for next Wednesday’s Late to the Party when Jonathan Correia tackles the first three installments of Paranormal Activity.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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