Film Analysis: Young Frankenstein by Mel Brooks

Frankenstein, a novel first published in the year 1818, stands as the most talked about work of Mary Shelley’s literary career. She was just nineteen years old when she penned this novel, and throughout her lifetime she could not produce any other work that surpasses this novel in terms of creativity and vision. In this novel, Shelley found an outlet for her own intense sense of victimization, and her desperate struggle for love. Traumatized by her failed childbirth incidents, troubled childhood, and scandalous courtship, many of Shelley’s life experiences can be seen reflected in the novel. When discussing the character and development of the monster, Shelley launches an extensive discussion on the

Frankenstein’s monster, a misunderstood creation fabricated by Victor Frankenstein in Mary Shelley’s classic story, has been terrorizing readers and audiences alike for well over one hundred and fifty years. Since the story was first written in 1818, there have been numerous plays, and over one hundred films, each adaptation trying to portray its own vision of the original story. Mary Shelley came to create “the prototype of a new literary genre – science fiction” (Hardwood 14) while James Whale crafted his beautiful film creation, Frankenstein, to portray conservative values and civil rights while still telling the classic story. Other versions of Frankenstein

In many movie adaptations of a novel, the film doesn’t do the book justice in its story telling. Movie versions generally do not focus on the characters’ emotions or thoughts like the books do. They also do not develop the characters as well as the original story, giving the viewer little to no knowledge of a certain person. This is the case in Frankenstein. While there are some similarities between the original written version and the one on screen, the movie doesn’t delve into the lives of the main characters: Victor and the creature. The loss of characterization and focus on their lives takes away the audience’s take on consequences.

On October 19, 2017, I went to the Black Box Theatre at Lee High School in Huntsville, Alabama to see Young Frankenstein. The Independent Musical Production Incorporated produced the play. The play was Directed by Vivianne Atkins and Peter-John Sligting. Newt Johnson was the Musical Director. Upon arriving at the theater there was prerecorded music playing in the auditorium. Theme music from Halloween and the sound of thunder could be heard as guest were awaiting the opening of the show. The musical was presented on a Proscenium stage which controls the point of view of the audience, with an Orchestra just in front and below the stage. The sight lines were great and all of the seats in the auditorium allowed for a fantastic view of the stage. The title of the play, Young Frankenstein was visible thru a scrim and revealed the castle were Frankenstein lived. There were lighting strikes that could also been seen thru the scrim. The direction that the light hit the scrim and the spread were perfectly done. I found the way the title behind the scrim, along with the music playing in the background very appealing and proper for a play about Frankenstein. The mass, color and décor were perfectly done for the opening act.

Whereas in the 1931 film adaptation, it states that his condition is largely due to the mistake preformed by Fritz, who provided a defective brain to be placed into the creature’s head. The implication that the monster's brutal behavior was inevitable arguably weakens the novel's social criticism and depiction of developing consciousness. The film therefore emphasizes the idea that the creation exists as an inherently evil, manufactured being. The creature in the film lacks incentive, despite Shelley’s monster’s craving for love and his “ feelings of revenge and hatred” (Shelley 139). Essentially it was the creation of a new character, Fritz, which allowed the film’s plot to shift away from the novel’s original story of Frankenstein. The addition of Fritz reveals that Frankenstein’s creation had innate anger, and allows the audience to associate him to a monster.

Frankenstein's creature does not follow the stereotype of a monster that it has been traditionally thrown under. A monster is not born of innocence, and does not feel sympathise with the helpless. The array of emotions, actions, and requests that this supposed monster displays allude to his humanity flourishing within. He is an extreme of the human condition. In every person, there are horrific characteristics along side unbelievably vulnerable aspects that shape and highlight their essence, defining who they are. Someone who is a killer does not cease being human, and nor does a baby when it first born. The creature is as human as a murderer, and as innocent as an infant.

The movie Young Frankenstein is about a neurosurgeon professor named Fredericks Frankenstein whose doesn't want to be known as Dr. Frankenstein grandson so calls himself Fronkensteen. Fredericks grandfather was known for trying to revive the dead, which Fredericks doesn't like when people bring it up so he calls himself Fronkensteen. Fredericks goes to Transylvania after he finds out that his grandfather gave him his castle. Frederick finds his grandfather's secret laboratory and also books on how to revive the dead. With the help of Igor and Inga, Frederick brings life to a dead body. Frederick shows the monster to the people of Transylvania but they are scared of him and the monster is taken to jail and locked up with chains around his neck. Later that night while Frederick is sleeping with Inga, his fiancée Elizabeth shows up at the door. Soon after Elizabeth shows up the monster escapes out of jail and kidnaps Elizabeth and sleeps with her. Frederick lures the monster back to the castle and gives him half his mind. The monster can now think and talk a lot better than before and gets married to Elizabeth. Frederick is now calling himself Frankenstein. We see how Frederick is finding his identity throughout the movie.

During the course of Frankenstein, it is evident that the creature and his behavior is comparable to that of a child. There are many instances where the creature’s actions are comparable to those of a child, seen

Youthful Frankenstein and Mary Shelly's Frankenstein is viewed as one of the best spoof ever made. Mel creeks portrays the excellent blood and guts movie in a really virtuoso viewpoint. In spite of the fact that his portrayal is close to home the turn in his delineation is an illustration of the work of a genuine virtuoso. This is the purpose behind the 1970s film industry victory. Furthermore he transforms frightening circumstances into inconceivably interesting and silly circumstances. The motion picture Young Frankenstein opens up what is done in high contrast. This was the same case with Mary Shelly's Frankenstein's. The opening up of the film in highly contrasting was done to keep the validness in Young Frankenstein. This was a move to make Young Frankenstein more alarming and genuine.

Fictionally, the greatest-written villains in history possess attributes that give them cause for their behavior, with the most universal and essential of these core traits being a deep, personal backstory behind their acts. For instance, in classic stories like Mary Shelley’s Frankenstein, the Monster presents thorough reason to its Creator in terms of why it has turned to wickedness. The Monster does not kill purely for the sake of being evil, its actions are resulted from its desire to be loved by man, yet failing at every attempt to achieve it. Motivation behind monstrous acts is necessary in works of fiction because non-fictionally, people labeled as monsters by society possesses motivation behind their actions as well, whether it be

The film Young Frankenstein directed by Mel Brooks, 1974 Young Frankenstein is a series of hilarious humour scenes. To create humour exaggerated dialogue was used. This exaggeration made the dialogue sound ridiculous. - When Frankenstein said "throw the first switch" then the second and third, each time getting louder and louder. The creation scene replicates the 1931 original Frankenstein, similar settings.

How can we think of Frankenstein and ignore the film classic of 1931? Yet the celebrated film does not follow the novel by Mary Shelley. Although the scene of a futuristic laboratory entrances movie audiences with the mad Dr. Frankenstein and his faithful assistant Igor, the scene is derived from twentieth century imaginations and interests, not the novel itself.

Young Frankenstein was a musical that the UA Theatre & Dance put on November 17-20 and 22, 2015. The play focuses on the grandson of Victor Frankenstein, Frederick, after he inherits his grandfather's large estate in Transylvania due to his grandfather’s death. Once arriving in Transylvania, Frederick gains his side-kick Igor and his assistant Inga. Frederick travels to his grandfather’s estate with the intent to close the place down and head back to New York so he can return to his fiance and continue teaching. However he suddenly finds himself following in the footsteps of his crazy grandfather to bring someone back to life. This musical continues to follow the young doctor Frederick Frankenstein in his scientific studies and explorations

The very first film “ Frankenstein “ was made in the 1910 by Thomas Edison. In the 19th century, there have been 400 films that use the characters of Frankenstein. The very first film adaptation consists of four scenes and is only a 16 minute silent film. This story is told very briefly in gen or twelve sentences with action filmed to illustrate the story. In this film in to years, he will discover how to create life.