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Dec. 16, 1974
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The New York Times Archives
See the article in its original context from
December 16, 1974, Page 48
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About the Archive
This is a digitized version of an article from The Timesâs print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.
Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.
YOUNG FRANKENSTEIN,
directed by Mel Brooks; screenplay by Gene Wilder and Mr. Brooks; produced by Michael Gruskoff; director of photography, Gerald Hirschfeld; music, John Morris; editor, John Howard; distributed by 20th CenturyâFox. Running time: 104 minutes. At the Sutton Theater, 57th Street east of Third Avenue. This film has been rated PG.
Dr. Frankenstein Gene Wilder
Monster Peter Boyle
Lour Marty Feldman
Elizabeth Madeline Kahn
Frau Blucher Cloris Leachman
Inga Terl Garr
Inspector Kemp Kenneth Mars
Herr Falkenstein Richard Hadyn
Blindman Gene Hackman
He's young. He's cleanâcut. He's allâAmerican. You are certain he uses the correct deodorants and afterâshave lotions. He has a fiancĂ©e who's so fussy about her makeâup that when they say goodâby, they don't kiss, they gently rub elbows. The young man is a brain surgeon named Dr. Frankenstein, but When a medical student calls him that, he has a fit. âNo, no,â he screams, âit's pronounced Fronâkenâshteen!â He doesn't want to be confused with his infamous grandfather.
As played by Gene Wilder in Mel Brooks's funniest, most cohesive comedy to date, this Dr. Frankenstein is a marvelous addled mixture of young Tom Edison, WinnietheâPooh and your average Playboy reader with a keen appreciation of beautiful botoms.
âą
At this point in time it isn't easy to make fun of Mary Shelley's durable old chestnut about the visionary doctor and the monster to whom he gave life. All of the jokes would seem to have been told. Hammer Productions' âFrankenstein,â movies employ deadpan humor. âAndy Warhol's Frankenstein,â released this year, was an allâ out assault that used wild anachronisms and grotesque special effects.
It would be misleading to describe âYoung Frankenstein,â written by Mr. Wilder and. Mr. Brooks, as astoundingly, witty, but it's a great deal of low fun of the sort that Mr. Brooks specializes in.
Although it hasn't as many roofâraising boffs as âBlazing Saddl'es,â it is funnier over the long run because it is More disciplined. The anarchy is controlled. Mr. Brooks sticks to the subject, recalling the cliches of horror films of the nineteenâthirties as lovingly as someone remembering the small sins of youth.
Perhaps the nicest thing about âYoung Frankensteinâ is that one can laugh with it and never feel as if the target film, James Whale's 1931 classic that starred Boris Karloff, is being rudely used.
The new movie, which has Young Frankenstein returning to the family castle and bringing to life a monster played by Peter Boyle, is a horror film compared almost entirely of hilarious interruptions, including the doctor's nearâfatal encounter with one of those mysterious bookcases that hides a secret door. It keeps turning around and hitting him in the back.
The doctor is helped in his endeavors by his loyal hunchback servant, Igor pronounced Eyeâgor), played by a nervily funny newcomer to films named Marty Feldman; by a pretty blond laboratory assistant (Teri Garr) who recalls (intentionally) every blond starlet who never quite made the big time and, of course, by Mr. Boyle in monsterâdrag.
Madeline Kahn, one of the best things in âBlazing Saddles,â is in top form as the doctor's bossy fiancĂ©e who eventually finds sexual fulfillment in the arms of the monster, and Gene Hackman turns up in a pricelessly funny it as the blind man who befriends the monster and after offering him a cigar carefully lights the monster's thumb.
The high point of the film is a sequence in which the young doctor takes his monster to a medical convention in Bucharest and demonstrates his accomplishment by joining the monster for several choruses of âPuttin' On the Ritz,â both dressed nattily in white tie and tails.
âYoung Frankenstein,â which opened yesterday at the Sutton, was photographed in black and white with fastidious attention to the kind of slightly fake details you'll find only in a studioâmade movie over which tremendous care has been taken. It has an affectionate look to it, especially in the laboratory equipment that is said to be a reproduction of the stuff used in the Whale film.
Some of the gags don't work, but fewer than in any previous Brooks film that I've seen, and when the jokes are meant to be bad, they are riotously poor. What more can one ask of Mel Brooks?
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# âYoung Frankensteinâ a MonsterRiot
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By Vincent CanBY
- Dec. 16, 1974

Credit...The New York Times Archives
See the article in its original context from
December 16, 1974, Page 48[Buy Reprints](https://store.nytimes.com/collections/new-york-times-page-reprints?utm_source=nytimes&utm_medium=article-page&utm_campaign=reprints)
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TimesMachine is an exclusive benefit for home delivery and digital subscribers.
About the Archive
This is a digitized version of an article from The Timesâs print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.
Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.
**YOUNG FRANKENSTEIN,** directed by Mel Brooks; screenplay by Gene Wilder and Mr. Brooks; produced by Michael Gruskoff; director of photography, Gerald Hirschfeld; music, John Morris; editor, John Howard; distributed by 20th CenturyâFox. Running time: 104 minutes. At the Sutton Theater, 57th Street east of Third Avenue. This film has been rated PG.
Dr. Frankenstein Gene Wilder
Monster Peter Boyle
Lour Marty Feldman
Elizabeth Madeline Kahn
Frau Blucher Cloris Leachman
Inga Terl Garr
Inspector Kemp Kenneth Mars
Herr Falkenstein Richard Hadyn
Blindman Gene Hackman
He's young. He's cleanâcut. He's allâAmerican. You are certain he uses the correct deodorants and afterâshave lotions. He has a fiancĂ©e who's so fussy about her makeâup that when they say goodâby, they don't kiss, they gently rub elbows. The young man is a brain surgeon named Dr. Frankenstein, but When a medical student calls him that, he has a fit. âNo, no,â he screams, âit's pronounced Fronâkenâshteen!â He doesn't want to be confused with his infamous grandfather.
As played by Gene Wilder in Mel Brooks's funniest, most cohesive comedy to date, this Dr. Frankenstein is a marvelous addled mixture of young Tom Edison, WinnietheâPooh and your average Playboy reader with a keen appreciation of beautiful botoms.
âą
At this point in time it isn't easy to make fun of Mary Shelley's durable old chestnut about the visionary doctor and the monster to whom he gave life. All of the jokes would seem to have been told. Hammer Productions' âFrankenstein,â movies employ deadpan humor. âAndy Warhol's Frankenstein,â released this year, was an allâ out assault that used wild anachronisms and grotesque special effects.
It would be misleading to describe âYoung Frankenstein,â written by Mr. Wilder and. Mr. Brooks, as astoundingly, witty, but it's a great deal of low fun of the sort that Mr. Brooks specializes in.
Although it hasn't as many roofâraising boffs as âBlazing Saddl'es,â it is funnier over the long run because it is More disciplined. The anarchy is controlled. Mr. Brooks sticks to the subject, recalling the cliches of horror films of the nineteenâthirties as lovingly as someone remembering the small sins of youth.
Perhaps the nicest thing about âYoung Frankensteinâ is that one can laugh with it and never feel as if the target film, James Whale's 1931 classic that starred Boris Karloff, is being rudely used.
The new movie, which has Young Frankenstein returning to the family castle and bringing to life a monster played by Peter Boyle, is a horror film compared almost entirely of hilarious interruptions, including the doctor's nearâfatal encounter with one of those mysterious bookcases that hides a secret door. It keeps turning around and hitting him in the back.
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The doctor is helped in his endeavors by his loyal hunchback servant, Igor pronounced Eyeâgor), played by a nervily funny newcomer to films named Marty Feldman; by a pretty blond laboratory assistant (Teri Garr) who recalls (intentionally) every blond starlet who never quite made the big time and, of course, by Mr. Boyle in monsterâdrag.
Madeline Kahn, one of the best things in âBlazing Saddles,â is in top form as the doctor's bossy fiancĂ©e who eventually finds sexual fulfillment in the arms of the monster, and Gene Hackman turns up in a pricelessly funny it as the blind man who befriends the monster and after offering him a cigar carefully lights the monster's thumb.
The high point of the film is a sequence in which the young doctor takes his monster to a medical convention in Bucharest and demonstrates his accomplishment by joining the monster for several choruses of âPuttin' On the Ritz,â both dressed nattily in white tie and tails.
âYoung Frankenstein,â which opened yesterday at the Sutton, was photographed in black and white with fastidious attention to the kind of slightly fake details you'll find only in a studioâmade movie over which tremendous care has been taken. It has an affectionate look to it, especially in the laboratory equipment that is said to be a reproduction of the stuff used in the Whale film.
Some of the gags don't work, but fewer than in any previous Brooks film that I've seen, and when the jokes are meant to be bad, they are riotously poor. What more can one ask of Mel Brooks?
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