The Horse's Head

#184) Young Frankenstein (1974)

OR “Downton Abby Normal”

Directed by Mel Brooks

Written by Brooks & Gene Wilder. Based on characters from the novel “Frankenstein” by Mary Shelley.

Class of 2003

The Plot: Dr. Frederick Fron-ken-steen (Gene Wilder) is a straight-laced physicist who detests being the grandson of the infamous Victor Frankenstein. Upon inheriting the family castle in Transylvania, Frederick travels to the estate, discovers his grandfather’s secret notations on reanimating dead tissue, and becomes increasingly enticed by the idea. Assisted by bug-eyed Igor (Marty Feldman), seductive Inga (Teri Garr), and ominous Frau Blücher (Cloris Leachman), Frederick makes a creature (Peter Boyle) that is part monster and part “man about town”. Only his uptight financier Elizabeth (Madeline Kahn) and an angry mob of townspeople can prevent Frederick from fulfilling his destiny.

Why It Matters: The NFR calls the film a “stylish spoof” with “[c]lever writing” and “a formidable comedic ensemble”. They also praise the crew for its meticulous recreation of the 1930s Frankenstein films. In addition, there’s an essay by Brooks expert and “Tootsie” devotee Brian Scott Mednick.

But Does It Really?: “Young Frankenstein” is not only one of the funniest films ever, but also a frontrunner for best parody ever. While “Airplane!” is the spoof that throws in everything but the kitchen sink, “Young Frankenstein” gets its laughs by faithfully emulating the source material, and tweaking it in just the right places. While not my pick for Mel’s funniest film, it’s definitely his best. Brooks and Wilder make for excellent collaborators: Brooks adheres to Wilder’s more restrained style of parody, and Wilder allows Brooks to occasionally punch up the humor with his sketch-comedy sensibilities. Throw in an ensemble that’s clearly having a blast, and the result is damn near perfect. Mel made a name for himself as the king of parodies after this (I will always have a soft-spot for “Spaceballs”), but “Young Frankenstein” is his last true classic.

Shout Outs: In addition to the main influences from “Frankenstein” and “The Bride of Frankenstein”, the film makes excellent use of “Ah! Sweet Mystery of Life” from “Naughty Marietta”.

Everybody Gets One: Marty Feldman was already a popular comedian in his native England, but it was his performance as “I-gor” that brought him international fame. Feldman would continue to be a staple in subsequent films by Mel Brooks and Gene Wilder.

Seriously, Oscars?: “Young Frankenstein” garnered two Oscar nominations: Adapted Screenplay for Brooks and Wilder (losing to “The Godfather Part II”) and Sound (losing to “Earthquake”). How Gene Wilder didn’t get an acting nomination from ANY voting body that awards season is an everlasting disgrace.

Other notes

• Just a reminder that this film was released a mere 10 months after “Blazing Saddles”. It may be the finest one-two punch in film history.
• This film really takes its time setting the mood; it’s a full five minutes before we get the first real joke.
• It may be “A Mel Brooks Film”, but this is Gene Wilder’s movie. In addition to a screenplay that is noticeably different from Mel’s other movies, this is Gene Wilder’s finest film performance. And that’s saying something.
• And now, a sensible “Chattanooga Choo Choo” reference for the kids.
• There’s a lot of artificial zooming going on in this film. Some of it is there to help cover cuts, but it always sticks out to me.
• Oh Cloris Leachman, when you commit to a part you really commit. Leachman would have filmed this not too long after she departed “The Mary Tyler Moore Show” to star in her own spin-off!
• No, it doesn’t mean “glue”. Moving on.
• Did Spielberg lift this film’s “You go first” gag for “Raiders”?
• Shout-out to cinematographer Gerald Hirschfeld. It’s a perfect copy of the old Universal films. Where’s his Oscar nod?
• Why does everyone in Transylvania have an English accent?
• Excellent physical work by Kenneth Mars. And good work from the sound guys too.
• This is one of filmdom’s most endearing Frankenstein monsters. And to think he would end up making a living by saying “Holy crap.”
• Helga’s father is played by actor Michael Fox. Because the Screen Actors Guild does not allow more than one actor to be registered under the same name, the other Michael Fox had to add the J middle initial.
• Gene Hackman is giving one of the best cameo performances in any film. “I was going to make espresso!”

• One more word on Gene Wilder’s performance: It’s so good even his hair is brilliant.
• Four words: Puddin on a reeeeeetz.

• I love that Mel kept in one of the moments where Gene starts corpsing on camera. Wilder barely gets out the line “Stop that!” to Marty Feldman.
• You’ll never get me to say anything bad about Madeline Kahn. This viewing made me debate whether she should have gotten her Oscar nomination for this instead of “Blazing Saddles”. These are the things that keep me up at night.
• That being said, the relationship between Elizabeth and the monster has some moral gray area that I feel might be a bit questionable today.
• Too many great lines to mention, but here are some of my favorites:

“Give him an extra dollar.”

“There wolf. There castle.”

“What the hell are you doing in the bathroom day and night?”

“You just made a yummy sound.”

“Seda-GIVE!?”

“I suggest you put on a tie.”

“Say nothing, act casual.”

“No tongues.”

Legacy

• Despite the worldwide success of “Young Frankenstein”, Mel Brooks and Gene Wilder never made another film together. Gene tried his hand at directing the similar genre spoof “The Adventure of Sherlock Holmes’ Smarter Brother” and Mel followed up with “Silent Movie” and “High Anxiety”, but neither would make another film as well received as “Young Frankenstein”.

• Following the success of “The Producers” on Broadway, Brooks turned this film into a stage musical in 2007. It ran for a while, but lightning definitely didn’t strike twice. A streamlined version played the West End recently with better results.

• The dramatic sting used to establish Castle Frankenstein would gain internet notoriety in the “Dramatic Chipmunk” video.

• I guess there’s a Turkish version of this called “My Friend Frankenstein”?

• And of course, the “walk this way” gag is not only endlessly referenced in films (especially by Mel), but is also the inspiration for the Aerosmith song.

#183) Star Theatre (1901)

OR “Breaking the Fourth Wall (And the Other Three)”

Directed by F.S. Armitage

Class of 2002

The Plot: Time-lapse photography shows us the demolition of New York City’s Star Theatre. The real event occurred over the course of 30 days from April to May of 1901, but thanks to the geniuses at Biograph, you can see the whole thing in less than two minutes!

Why It Matters: The NFR gives a brief summary, plus some backstory on the project.

But Does It Really?: I’ll say sure, because time-lapse photography is neat, and someone had to introduce it to the American mainstream. Plus this is one of the few films that remotely cares about the death of the American Theater. Where’s this guy’s Isabelle Stevenson Award?

Everybody Gets One: F.S. Armitage did most of his groundbreaking camera work for the American Mutoscope and Biograph Company (later shortened to Biograph Company). Time-lapse photography was his main trick with this short, but he also experimented with film reversal and image superimpositions. Virtually nothing is known about Armitage outside of a six-year period with Biograph, and most of that information is his filmography.

Wow, That’s Dated: Literal horsepower. That’s the main one.

Other notes

• Despite what the internet claims, this is not the first film to utilize time-lapse photography. French film pioneer George Méliès beat this film to the punch in the late 1890s. This may, however, be the first American film to do so, or at least the earliest surviving one.
• The film’s timelapse consisted of one frame every four minutes. At approximately two minutes in length, this film covers 192 hours of the theatre’s destruction.
• This film was a pretty easy set-up for Armitage: the theatre was located across the street from the Biograph studio. They just put a camera by one of their windows and let the thing run.
• Among the actors that performed on the stage of the Star over the years were the legendary Sarah Bernhardt, and most notably, Edwin Booth, a celebrated Shakespearean actor in his day, but perhaps best known today as being the brother of that other actor named Booth.
• The final show that performed at the Star Theatre was something called “The Convict’s Daughter” by J.A. Fraser. You now know as much as I do about that play.
• This film is referred to by the NFR as “Demolishing and Building Up the Star Theatre”. The actual footage is just the demolition, but Biograph sent out prints with the suggestion that when shown in reverse, “the effect is very extraordinary”. (The title on the actual film is simply “Star Theatre”, hence its naming on this post).

Legacy

• The Biograph Company folded in 1916, but not before launching the careers of Mary Pickford, Lillian Gish, and D.W. Griffith.
• The former site of the Star Theatre is currently the home of several businesses including, appropriately enough, a movie theater.

Only tangentially related to this film, I’ve always enjoyed this photo of Gloria Swanson posing amongst the rubble of the former Roxy Theater movie palace in 1960. The main lobby area is currently home to a T.G.I. Friday’s. What’s playing at the Roxy? Steak and ribs, mostly.

#182) Manhattan (1979)

OR “Woody’s Last Film on the Registry for a While”

Directed by Woody Allen

Written by Allen and Marshall Brickman

Class of 2001

The Plot: Woody Allen-esque comedy writer Isaac Davis (Woody Allen) is dating 17-year-old Tracy (Mariel Hemingway, We’ll get to that in a bit). While at a party, Isaac meets author Mary Wilkie (Diane Keaton), the mistress of his best friend Yale Pollack (Michael Murphy). Though they do not hit it off initially, a chance second meeting finds them falling in love. What follows is a complicated love rectangle peppered with beautiful cinematography, excellent use of George Gershwin’s music, and a question about New York’s age of consent that has definitely compromised my Google search history.

Why It Matters: The NFR praises Allen and Brickman’s screenplay, the cinematography by Gordon Willis, and the “exceptional comedy teamwork” between Allen and Keaton.

But Does It Really?: I’ll be real: I wrestled with this one. A lot. On the one hand, “Manhattan” is a funny, beautifully shot love letter to New York at a time when the city was at its grittiest. On the other hand, Woody’s dating a teenager and no one seems to mind or be concerned. It’s a plotline that, given what we know now, ultimately taints an otherwise enjoyable film. “Manhattan” was selected for preservation in December 2001, no doubt a response to the terrorist attacks on the city three months earlier. We were post-Soon-Yi but pre-Dylan Farrow in our Woody issues, so no one can claim ignorance on the subject. Cinematic merits aside, perhaps the film’s retroactive controversy is reason enough for preservation. “Manhattan” is a film that (purposefully or not) immediately starts a discussion, and isn’t that what all the films on this list are supposed to do?

Shout Outs: Quick references to several films, including NFR entries “Casablanca”, “Gone with the Wind” and “2001: A Space Odyssey”.

Everybody Gets One: Mariel Hemingway, Congresswoman Bella Abzug, film editor Susan E. Morse (her first of over 20 Woody collaborations), and legendary SNL writer Michael O’Donoghue as the man who was talking about orgasms.

Wow, That’s Dated: Tape recorders, references to the Carter family, and Woody’s standard jab at EST. Plus another round of “What’s Playing on Broadway Back Now?” that includes the musical “Runaways” and ‘70s mime trope Mummenshcanz, which places filming in the fall of 1978.

Seriously, Oscars?: Despite its critical and commercial success, “Manhattan” received only two Oscar nominations. Allen & Brickman lost Original Screenplay to “Breaking Away”, while Mariel Hemingway lost Supporting Actress to Meryl Streep; not for her work in this film, but rather for her other 1979 New York based divorce film, “Kramer vs. Kramer”. The film’s most conspicuous Oscar snub was – once again – Gordon Willis’ cinematography (though his first nomination for Allen’s “Zelig” was only four years away).

Other notes

• There’s a lot more to say about the Isaac/Tracy plotline, and we as film-lovers should keep discussing it. I highly recommend this think piece about dealing with art made by “monster artists”, specifically Woody and “Manhattan”. It helped me cope with my conflicting thoughts on this film.
• This has got to be one of the rare times where Woody strayed from his standard opening credits.
• The piano version of “Mine” playing at the restaurant sounds an awful lot like the “Everybody Loves Raymond” theme. Well, strike that, reverse it I guess.
• I’ve now seen all four of Diane Keaton’s NFR films and I must say I have severely underestimated her as an actress. Here she is brilliantly playing a New York intellectual that is night and day from her turn as Annie Hall and her more restrained work in the first two “Godfather” films. Ms. Keaton, if you’re reading this, I owe you a drink.
• The best line: “I think people should mate for life, like pigeons or Catholics.”
• And then there’s that beautiful iconic shot of the Queensboro Bridge with Gershwin swelling in the background. Don’t make me like you, Woody.
• Can we make it a rule that no one is ever allowed to call it “making love”?
• I can’t tell if Meryl Streep’s acting style just doesn’t mesh or if her character is intentionally written to be in sharp contrast with everyone else. My guess is the latter, but something about her scenes is just a hair out of place. In either case, this is the only time Meryl and Woody have worked together, and I suspect it will stay that way.
• The scene of Isaac and Mary in the rowboat is one of my favorite shots, and may be the film’s only visual gag.
• I forgot Wallace Shawn is in this! He is quite possibly the only person to work with Woody Allen, Rob Reiner and Pixar.
• This film ends with the dramatic “running to be with your loved one” cliché.
• By Woody Allen standards, this is an upbeat ending. No one gets what they want, but it ends with a glimmer of hope.

Legacy

• Umm…besides that?
• The film’s main intentional takeaway is the iconic shot of Woody and Diane watching the sunrise. It’s the main image on the film’s poster, and everyone has done their own take on it at some point.

Further Viewing: Not exactly a fan of the Oscars, Woody has only attended the ceremony once: in 2002 when he was neither a nominee nor a winner. In the aftermath of the September 11^th attacks, Allen came to the (then) Kodak Theater to introduce a clip package by Chuck Workman honoring films shot on location in New York City. The tribute itself is currently not available online (copyright clearance is a bitch), but Woody’s introduction is worth a watch.

Oh wait: here it is. Enjoy it before it’s taken down!

Listen to This: I already covered “Rhapsody in Blue” in my “An American in Paris” write-up, but I would be remiss if I did not give the Gershwin classic a shout-out here.

#181) Love Finds Andy Hardy (1938)

OR “Oh Mickey, What a Pity, You Don’t Understand”

Directed by George B. Seitz

Written by William Ludwig. Based on the stories by Vivien R. Bretherton and the characters created by Aurania Rouverol.

Class of 2000

The Plot: Ideal, small-town all-American boy Andy Hardy (Mickey Rooney) puts a down payment on a used car so he can drive his girlfriend Polly (Ann Rutherford) to the Christmas Eve dance. When Polly learns that she’ll be out of town, Andy decides to take his best friend’s girl Cynthia (Lana Turner) instead. Later, Polly becomes available, and Andy has two dates to the same dance! Added to the mix is Betsy (Judy Garland), a young girl visiting for the holidays who is obviously in love with Andy, but keeps getting ignored by him. Andy’s father, Judge James Hardy (Lewis Stone) is on hand as always to offer advice, except for anything that would be respectful to the women in this triangle.

Why It Matters: No official reason is made in the NFR write-up, but an essay by writer Charlie Achuff gives a detailed defense to the film’s historical impact.

But Does It Really?: This is definitely on the “historical significance” side of things. The Achuff essay expands upon what this film has going for it: the popularity of the Andy Hardy series, the launchpad for Mickey Rooney’s stardom, and the star-in-the-making turns by Judy Garland and Lana Turner. But Jesus Christ is this movie dated as hell. Sure the film represents the ideal small-town values of the late ‘30s, but the “boys will be boys”/“all women are property” mentality flaunted by this film definitely doesn’t fly today. “Andy Hardy” gets a slight pass thanks to a compelling argument from Achuff, but purely as entertainment it’s an exasperating watch. I started to question if there’s a way the NFR can reverse their decision on this film’s preservation.

Everybody Gets One: The women of the Hardy family get the short shrift from the NFR. This is the only appearance for Fay Holdin (Emily) and Cecilia Parker (Marian).

Wow, That’s Dated: Here’s just a small sampling of the incredibly sexist (but okay in the ‘30s) things Andy Hardy says in this film: “I can’t take money from a woman!” “After all, a redhead’s a redhead.” and the most groan-inducing, the exchange “You kissed me by force.” “Well, it’s good that way too!” This viewing came with a lot of groaning from me.

Seriously, Oscars?: No nominations for “Love Finds Andy Hardy”, but Mickey Rooney did receive a special Juvenile Award at the Oscars for all of his performances throughout 1938. Despite an additional four nominations (and another honorary award in 1983) Mickey Rooney never won a competitive Oscar. While no Andy Hardy film ever won an Oscar, the Academy gave MGM an honorary Oscar in 1943 for “representing the American Way of Life in the production of the Andy Hardy series”.

Other notes

• “Love Finds Andy Hardy” was the fourth of 16 films focusing on this family, and the first to single out Andy in the title. It was also the second of three Andy Hardy films released in 1938 alone! MGM cranked these films out faster than Tyler Perry!
• Hand-stitched credits, you don’t see that kind of detail in film anymore.
• Carvel, Idaho: Birthplace of Fudgie the Whale!
• Andy can buy a used car for $20! I couldn’t get a modern estimate on that: the website I use labeled the inflation rate as “Laughable”.
• Shout-out to Ann Rutherford, whose mention in my “Gone with the Wind” post didn’t make the cut. Not a lot of classics on her resume, but a welcome presence in any film. Even this crap.
• Proof that the series was focusing more and more on Andy: Mom is written out for the bulk of the film.
• Judy Garland’s character is an aspiring singer her wants to be like her famous mother. So….Liza?
• Andy, will you please stop negging Betsy? You’re giving Judy Garland her life-long inferiority complex.
• His best friend’s nickname is “Beezy”? As in “Fo Sheezy”?
• Correct me if I’m wrong, but isn’t this the drugstore Lana Turner got discovered in?
• Andy to Cynthia: “I’ll monopolize you.” What does that even mean? Never mind, just go directly to jail. Do not pass go, do not collect $200.
• This is another movie for my “Die Hard” Not-Christmas list. The holiday setting is extra weird given that this film was released in July.
• More negging! At this point the only satisfactory ending would be if Betsy kills Andy in cold blood.
• Even at sixteen, Judy had quite the pipes. Her first song, “In-Between” is the ‘30s version of “I’m Not a Girl, Not Yet a Woman”. (That’s right, a “Crossroads” reference. Come at me, bro!)

• Judy isn’t allowed to go to Clark Gable movies? But I thought she was his number one fan.
• If Andy Hardy (and his now-sexist attitude) existed today, he’d either be a cable news commentator or the President.
• Judge Hardy opines “Who knows what this generation has coming.” Another World War, Atomic Age paranoia, and unending love from Tom Brokaw.
• And then everything gets wrapped up in a bow for the ending. Not exactly a Shakespearean comedy, but I’m already over this movie so who cares?

Legacy

• There were 11 more films in the original Andy Hardy series, each emphasizing Mickey Rooney as he became a bigger star. A 16^th film, “Andy Hardy Comes Home” failed to revive the series for a new generation.

• Mickey Rooney and Judy Garland would reunite in two more Andy Hardy films, as well as several “let’s-put-on-a-show!” type films, most notably “Babes in Arms”.

• Mickey Rooney was married eight times. That’s not really important to the film, I just like mentioning that.
• Judy got her dream of a singing career alright…

#180) The Kiss (1896)

OR “The Very First Kiss Cam”

Directed by William Heise

Adapted from “The Widow Jones” by John J. McNally

Class of 1999

The Plot: Divorced teacher Sarah Nolan (Diane Lane) is persuaded by her family to start dating again. She tries this new thing called online dating and…oh wait, never mind. That’s the plot of “Must Love Dogs”. This is a film about two people (May Irwin & John Rice) kissing. In Thomas Edison’s own words, “They get ready to kiss, begin to kiss, and kiss and kiss in a way that brings down the house every time.”

Why It Matters: The NFR write-up covers the film’s major talking points (we’ll get to those later), and gives the film’s historical significance as “film’s first romance” and “the first time films were regularly projected on screens rather than shown to individual viewers on machines”.

But Does It Really?: Oh yes, and more so than most film of the era. A lot of films (especially the other Edison experimental ones) are on this list primarily because they still exist, but “The Kiss” actually has historical significance that is monumental to the evolution of film. Sure its claim as the first film love story is a bit, for lack of better term, romanticized, but it was quite the hit in its day, and helped push the envelope of what film could be. “The Kiss” has zero of the scandalous stigma it had in 1896, but regardless, it’s a pivotal moment in film history.

Everybody Gets One: Both May Irwin and John Rice were seasoned Broadway performers when they appeared together in “The Widow Jones” in 1895. Edison caught a performance and had them recreate their final kiss in the show for his camera.

Wow, That’s Dated: I was going to say his handlebar moustache, but that wouldn’t be too out of place in today’s hipster culture.

Other notes

• For the record, the characters are named The Widow Jones and Billie Bikes.
• I don’t see how pressing your cheeks up against each other is a comfortable way to talk to someone.
• The assumption is that Irwin and Rice are delivering their lines from the show. Any clues to what they’re saying? At this point I’ll take a Bad Lip Reading.
• Hard to believe, but this film – the first screen kiss – was highly controversial in its day. Film was still in its infancy, and the idea of a kiss being projected on a large screen was considered vulgar in 1896. Newspapers decried the film as “absolutely disgusting”, and the Catholic Church tried to get the film censored. Can you imagine what these prudes would make of “Fifty Shades of Gray”? Of course, the culture shock of watching something from 120 years in the future would probably be stronger than their moral outrage.

Legacy

• Like fellow Edison film “Record of a Sneeze”, “The Kiss” is a good clip to have in your classic movies montage.
• “The Widow Jones” was revived on Broadway five years after this film, with May Irwin reprising her role as the title character.
• The 1899 knockoff “The Kiss in the Tunnel”, which is exactly like “The Kiss”…but on a train!

• I dunno, do I go for the Hershey’s Kisses joke? The KISS joke? Kiss FM? No, it’s gotta be the Prince song.

Further Viewing: The kissing montage to end all kissing montages, courtesy of “Cinema Paradiso”.