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Film Analysis: Young Frankenstein By Mel Brooks

1236 words - 5 pages

Tori Blankenship
Paper 2 Rough Draft
Dr. Barrett-Fox
Camp Rhetorical Analysis
Mel Brook's film ,Young Frankenstein, is a comedic throwback and famous parody to Univeral's Frankenstein (1931), Bride of Frankenstein (1935), Son of Frankenstein (1939), and The Ghost of Frankenstein (1942). (quote from interview generally describing movie experience).
Young Frankenstein has important visual effects that bring to this film a well-rounded sense of both frivolity and campy thrill. Satirically embodying the older films, Young Frankenstein includes overly dramatic scene transitions such as iris outs, wipes, and “fading to black”, like all classic Hollywood horror films. In classic Hollywood ...view middle of the document...

These eyes are an asset to the role, being a character who walks with a terrible limp and has a humped back (comically, the hump switches places during the film). Elizabeth, Dr. Frankenstein's fiance, a wealthy-beyond-words woman, is the embodiment of a socialite, with her ornate furs and refusal to kiss him on the chance it messes up her hair. Inga, a voluptuous beauty, fills the role of Frankenstein's female assistant. Inga embodies the role of helpless maiden and is involved in her share of sexual references - either directly or indirectly.
Also, important to note, is the setting during the scene featuring the modern American university, where Frederick Frankenstein teaches. While this scene is not a frequent host of occuring action, this aspect of the setting is important because it signals to the audience that the story is taking place during contemporary times. Mel Brooks is maintaining satire while showing a shift to the contemporary; It also serves to separate Frankenstein from his grandfather - which is something Frederick Frankenstein's character clearly is taking great pains to do, furiously insisting at some points that his name is to be pronounced,"not Frankenstein, but Fronk-en-steen"! Certainly, the introductory university scene also suggests the younger Frankenstein's occupation in being a professor in a practical element of applied science, versus the mad scientist traits that the elder Frankenstein showcases in the original Frankenstein movies. Mel Brook's interpretation of the character of Frankenstein is of a rational being in society that quickly transforms into the archetypal mad-scientist himself, upon discovering his grandfather's library and laboratory.
*(Young Frank is CRITIQUING THE WAY THE ORIGINAL FRANKENSTEIN WAS PRESENTED with enlightenment ideals vs. Romantic ideals) The entire film's premise is centered on the theme of death and rebirth, much connected to the Romantic ideals at the time. The Creature’s first appearance in the film is his dead body hurling to the earth, a reference to be connected to nature. The Creature is one with the Earth and then reborn (by Dr. Frederick Frankenstein). The new life comes verbally, with Frederick renewing the Creature’s spirit, giving him a new lease on life, and later, Creature is dragged to the earth, this time by the villagers; but gets a new life—Frederick gives him a new brain by sharing fluids from is own. The creature is continuously reborn, death and rebirth are celebated as successful and desirable, immediately contrasting the view of death as scary and unknown, as it is in the original films and in post-Romantic literature.
Brooks also places emphasis on other romantic elements in the movie that aren't present in the original (1930 something) Frankenstein,...

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