For folks unfamiliar with the story, the plot centers around Frederick Frankenstein, grandson of the infamous mad scientist, trying to escape his legacy by being a professor. However, he is called to his inherited castle, and inevitably begins his grandfather’s work again with the help of his assistants Igor and Inga. And once Frederick finally creates his monster, the story takes many unexpected twists and turns and keeps the audience guessing.

The cast is nothing short of stellar in this film. Gene Wilder plays the erudite, manic Frederick and he bounces between a man of dignity and grace to an utter lunatic as he slowly comes to embrace his legacy and destiny as a mad scientist. His madness is always entertaining on the screen.

Marty Feldman plays Igor, the strange, hunchbacked, googly eyed lab assistant. While his humor is more silly and of the wink-to-the-camera variety, he is the perfect companion to Wilder and delivers some of the funniest moments of the film.

Teri Garr plays Inga, the straight-woman to Wilder and Feldman’s lunacy. Her taking in of the absolute nonsense happening around her is just as important to the driving comedy of the film as Wilder and Feldman.

The supporting cast is superb as well with Cloris Leachman as the bizarre groundskeeper, Madeline Kahn hilariously sultry as ever as Frederick’s fiance Elizabeth, and Kenneth Mars as the wooden armed local police inspector. Each character brightens the comedy in their own way with no real weakness or dent in the armor.

This film was wonderfully written by Brooks and Wilder, with sharp dialogue and something funny in every corner. Every viewing of the movie gives you something new to notice and enjoy. The film does not beat the viewer over the head with ham-fisted jokes or pop culture references and ultimately treats the viewer with respect.

Young Frankenstein even captures the look of the monster movies of old, with the conscious decision to present the film in black and white with the gothic sets and a booming, sinister musical score that would be eerie and unsettling if they were not in the background of such a lighthearted comedy.

For over forty years, Young Frankenstein remains an absolute must watch for fans of Mel Brooks films, Gene Wilder’s works of acting, or even entertaining films in general. It’s still very accessible to a more recent audience, and is more satisfying than a good deal of recent comedy flicks. Young Frankenstein is worth everyone’s time and I cannot recommend it highly enough.

So when all is said and done, why not let the movie speak for itself?

To pick up Young Frankenstein and give it a watch, check out your parents’ trunk of old movies, or perhaps Amazon.

Supplementary viewing:

For more of Mel Brooks and Gene Wilder working together, check out The Producers and Blazing Saddles.

And see for yourself the legendary movies that Young Frankenstein spoofs and homages: Frankenstein and Son of Frankenstein.

The post The Trunk Movie Club: Young Frankenstein appeared first on KRUI Radio.

The story starts with private detective Phillip Marlowe meeting with General Sternwood, the patriarch of a wealthy household concerning the matters of his youngest daughter, the ditzy Carmen, being blackmailed.

With each step forward, the case gets even more tangled for Marlowe as more factors enter into play like a love triangle, gambling big, and even murder.

But Marlowe isn’t alone in this case, as Sternwood’s oldest daughter Vivian is in deep as well, and they will need each other to free the family from the grip of a sinister scheme.

The plot has twists, turns, and always keeps you guessing. It is a complicated tangled up ball of yarn that requires the viewer pay attention as new characters enter and exit the tale, but rewards the attentive with satisfying payoffs.

The writing is incredibly tight from its sharp dialogue full of creative innuendo both subtle and surprisingly blunt, especially when Marlowe verbally butts heads with anyone who stands between him and his case.

So how well does the cast work with the classic story and tight script? Well let’s start with the big leads.

The inimitable Humphrey Bogart steps into the shoes of Marlowe and rocks his character from start to finish. He is unflinching, witty, and despite his haggard appearance and gravelly voice, he charms the daylights out of every woman he comes across. Bogart as a private detective is guaranteed to bring a good show.

The leading lady in this picture is the illustrious Lauren Bacall in her role as the beautiful and erudite Vivian. Her determination to get to the bottom of the case and protect her sister is potent, and she is a force to be reckoned with every time she appears on screen.

Bogart’s and Bacall’s chemistry is superb and is the flagship of the acting corps for this film. The hard rock of their larger than life personalities metaphorically grind together with each encounter until something softer between them is formed, and by the end of the movie you see their transformations without fully compromising their established characters.

It’s a more off color love story to companion the crime caper that’s front and center.

The supporting cast is nothing to scoff at either. Martha Vickers is plays her role as the playful yet surprisingly dark pretty young Carmen, and the other supporting men work well as the deceptively sinister gangsters behind the whole affair.

Even the cab driver who appears for all of thirty seconds is entertaining, even if it is mostly for her verbal exchange with Marlowe.

The score is loud and sinister and hooks the viewer in right from the start with an orchestral explosion to start the opening credits. It swells and decompresses like a beating heart along with the pacing of the film, and looms and leers with sinister pieces as the action ramps.

In this movie the music in the film work in tandem as a partnership rather than running as parallels spliced together, and it makes a remarkable difference.

The takeaway is this: The Big Sleep is essential viewing for fans of mystery stories and older films in general. The writing, the acting, the music, and even the restrictive black and white visuals work together to provide a moody, atmospheric portrait of early 20^th century aesthetic. just get yourself comfortable, get food, your ultrasonic cool mist humidifier with essential oils, turn the lights off and enjoy.  Everything culminates in an absolutely excellent film.

Some supplementary content:

If you’re interested in the source material, check out the book.

If you really like this Bogart fellow, check out The Maltese Falcon and Casablanca.

If you love the duo of Bogart and Bacall, check out Key Largo and To Have and Have Not.

And if you have any thoughts on the flick, why not talk about it in the comment section below?

Our next pick from the Trunk of Old Movies will be Mel Brooks’ Young Frankenstein!

The post The Trunk Movie Club: The Big Sleep appeared first on KRUI Radio.