Abbott and Costello Meet Frankenstein | STORIES BEHIND THE SCREEN
Abbott and Costello Meet Frankenstein () Goofs on IMDb: Mistakes, Errors in Chick on the pier towards the end of the film, Wilbur and Chick both say, " McDougal! . However, it was explained in Bride of Frankenstein that the Monster is. Even so, “Abbott and Costello Meet Frankenstein” Some horror purists spurn the film as an ignoble end plausible monster plot to give Bud and Lou some-. For many historians, 's Bud Abbott and Lou Costello Meet Frankenstein is the definitive end point to the American golden age of the monster mash;.
Clearly, this is an urgent call. On the other end, in Florida, an employee of an express package delivery station answers the call, Wilbur Costello.
While explaining, however, the full moon rises and Talbot turns into the wolf man. As Wilbur hangs up, thinking Talbot called long distance to have his dog make growling noises into the phone, McDougal, the House of Horrors owner is waiting to see if his two crates have arrived. Classic Costello meets monster fare ensues.
Whose brain do they intend to use? In order to put a stop to all the terrible plans, Talbot needs the help of Wilbur and Chick, all the while fighting his own demons and an ever-full moon.
- Abbott and Costello Meet Frankenstein (1948)
I must say poor Talbot, as far as monsters go, is quite the downer. Anyway, I think you get the picture. His is always a character that is in the wrong place at the wrong time.
There are plenty of scares and opportunities for the wonderful, classic repartee that made Abbott and Costello such a hit during the golden ages of three mediums of mass communications — radio, movies and television.
But having all these monsters around who not only want to get at Wilbur but also hate each other — the Wolf Man and Dracula in particular — lends itself to grand mayhem and several frights as well whereby Wilbur and Chick run into a classic monster in every room of the castle. One has to love the apparent demise of Dracula as well — trying to escape the pursuing Wolf Man, the Count starts to turn into a bat then out comes the Wolf Man, grabs a hold of the animal before it flies away and they both fall into the rocks and crashing waves below.
Meanwhile, The Monster continues his relentless pursuit of Wilbur and Chip who do all they can, in hilarious fashion, to evade being killed by the creature. He chases them out of castle where he meets his demise in an ending that rivals the best climax in any of the classic Universal horrors.
Then just before the film ends, as the boys are trying to escape in a little boat, another monster appears. A must mention — the gorgeous, classic horror film score by Frank Skinner in this film. From the moment the Universal logo appears and that first, loud, distinctive note plays I want to run for cover — it evokes such wonderful thrills.
Abbott and Costello Meet Frankenstein () - Goofs - IMDb
I might add that animation is also used beautifully in the scenes where Dracula turns into a bat. Particularly interesting are the stories concerning the actors who play the famous monsters but, in truth, everything about the making of this film fascinates me.
The transition scenes where Talbot Chaney turn into the monster are really great in this film too — the editing is less clumsy, for lack of a better word, than in the version. Pierce continued to work as a make-up artist in films and television through the early s.
Abbott and Costello Meet Frankenstein
I adore Boris Karloff as The Monster. He was the original and the image that evokes in my mind whenever I think of this character.
However, I really like Glenn Strange playing this creature as well. Rinaldo and John Grant. This conversation abruptly ends when the London man turns into a werewolf as a full moon rises. Back at the delivery company, Mr. He reveals that the crates hold the bodies of two notorious monsters: Together, the monsters escape the railway station and the disappearance of their bodies lands Wilbur and Chick behind bars on suspicion of theft. By placing three monsters that an audience can collectively recognize alongside the equally famous comedy duo of Bud Abbott and Lou Costello, the standard concept of creating a monster film for the purpose of terrifying an audience changes into something significantly lighter.
The film is very aware of the common stereotypes associated with each monster because of their amplification throughout various adaptations. The movie examines these expectations and plays on them by adding a layer of comedy. This element can be seen through the parodying of the Wolf Man and Dracula. Because of stories constantly being circulated and adaptations being made, society is familiar with certain characteristics associated with a werewolf.
This quote plays on the well-known belief that the rise of a full moon will force a werewolf to change into its true form. This line also gives the Wolf Man a humanizing quality that changes him from a monster to fear into an identifiable character. Through a simple and quick response, the audience changes from fearing this widely known characteristic associated with werewolves to being able to relate to one by seeing him as just another typical male with raging hormones.
The idea of parodying monsters can also be seen through the depiction of Dracula. Poking fun at this completely irrational idea, Dracula turns into a cartoon bat when he makes this transformation.
Abbott and Costello Meet Frankenstein - Wikipedia
This shift from reality--with Dracula sneaking out of his coffin and reviving the Frankenstein monster, to cartoon-- where an animated bat is seen flying to the castle parodies the concept that is always associated with vampires and their ability to transform.
Monstrosity Abbott and Costello Meet Frankenstein epitomizes the human fascination with monstrosity by bringing three notorious monsters together on one screen. Though Sandra lacks the typical physical expectation of a monster, her role in the plot allows the audience to see her as one. The character of Sandra redefines monstrosity as a flaw that cannot always be as easily identified as it is in most monsters.
With this shift, monstrosity becomes something that is not always tangible, only observed through a character's actions. By the end of the film, the audience can see that Count Dracula proves to be the most monster-like character of them all.