Abbott and Costello Meet Frankenstein (1948)

*. This movie is included, appropriately, in both the Legacy DVD collections of Dracula and the Wolf Man. It does not mark a sudden change of direction from horror into screwball comedy — the previous few monster mash-up films produced by Universal were madcap and silly enough — but it’s very much the culmination of those franchises.
*. But times were changing. This was now Universal International, not Universal. Abbot and Costello Meet Frankenstein would be the last of their run of ensemble monster films, the last studio film Bela Lugosi made, and (I believe) the last time Lon Chaney Jr. played the Wolf Man. David Thomson calls it “a kind of going-out-of-business sale” and that’s a good analogy.

*. In my notes on the immediately preceding film in the series, House of Dracula (1945), I mentioned how strange it was that the Wolf Man kept getting dropped from the titles of these films despite his playing the leading part. We see the same bias toward Frankenstein’s Monster here, as (once again) he gets lead billing but is nothing but an almost speechless hunk of meat stretched out on a slab waiting for revival. It’s an inconsequential part, and the original title, The Brain of Frankenstein, made this discrepancy even worse. Lawrence Talbot, meanwhile, is, arguably, the real hero of the piece. I mean, Charles Bradstreet as Professor (or Dr.) Stevens is a total blank, and has almost no role at all to play aside from getting paired off with Jane Randolph.
*. If I have my questions about the title, I want to add that I love the animated opening credits (which were themselves uncredited but on the DVD commentary Gregory Mank says they were assumed to be the work of Walter Lantz). You just know you’re going to have a good time when.
*. That cartoon spirit carries over into the rest of the film as well, with the animated transformations of Dracula into a bat, the costume ball, and that island castle, which takes us just over the top of the usual haunted castle renderings and off to the land of Scooby-Doo.

*. If the classic Universal monsters were on their way out, Abbott and Costello were on the ups. Their salaries were a big part of the budget here ($105,000 plus a percentage), while Chaney and Lugosi got a tenth of that (and Lugosi was lucky just to be hired).
*. Chaney would later say that comedy ruined horror films by making buffoons out of the monsters, but it was time for a changing of the guard. Abbott and Costello would go on to star in other horror comedies with the Invisible Man and the Mummy, before they too would pass from the scene.

*. In 1948, however, they were at the top of their game and had their routine down pat. It isn’t complicated. The gags here are of two types. In the first place there are the physical gags, which mostly revolve around something going on behind Lou, or Lou seeing something scary and not being able to make Bud believe it because he’s dissolving into inarticulate spastics of fright. Then there are the verbal gags, which are really nicely worked into the script so that they don’t play like stand-up bits at all. Also, despite some of the dated word play (for example, over “bunk”), most of it remains pretty fresh.

*. I think they really missed a trick not having the two ladies (Lenore Aubert and Jane Randolph), faux rivals for Wilbur’s love, play off against each other more, each aware of the other’s game. Instead they both spend the final third of the movie as zombies.
*. There’s an interesting point that Mank mentions about how Universal never had a female monster/heavy before Sandra, unless you want to count Elsa Lanchester’s Bride (and I wouldn’t). Movies were afraid of female monsters.

*. That look Lou gives the camera after yanking the sheet out from under the candelabra on the credenza is a great moment, just for being so singular. Apparently the boys put an emphasis on having a lot of fun on set, with pie fights and all the rest of it. In a moment like this it shows.
*. The chaotic finale is great, and actually has more action, a lot more action, than the previous monster brawls. The Wolf Man jumping off the balcony to grab the Dracula bat before plunging together to their doom would have been a perfect climax to any of those earlier films.
*. I’m impressed with how well this movie has held up. I remember seeing it on TV when I was a kid and enjoying it quite a bit. Forty years later I still think it’s a lot of fun. I hope I’m still around to enjoy it forty years hence! But I doubt I will be.

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