Abbott and Costello Meet Frankenstein (1948) – By Baron Craze December 30, 2023
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Horror and Comedy have an unique marriage in the horror genre and has a laugh is the direct opposite of a scream, but for many viewers when we watch a film we know the direct intention of the filmmakers to make us have fears or to generate sheer amusement, the well the latter exists in this all-time classic movie. However, before diving into the fascinating subgenre and the film review something I notice while looking at plenty comments and other critics, they seem to find the film as lame, this position I feel is highly incorrect, because many inadvertently use what they grew up with as the basis for their comedy standards, humor of then fits your personality, as humor is subjective anything that falls outside those developing years might appear lame or strange to oneself. The same could be said for a person growing up during the 40s of what they like might not change too much, it extends to film and writing style; simply each generation has their visible interests and dislikes. The humor of yesteryear (namely before 60s) had to deal with censors, Hays Code and the Catholic League which frown and barred anything risqué, hence comedy used the classic innuendos, which is still highly entertaining today; I’ll note some of these in the review. The second aspect fits into two groups the movie is black-n-white, which I discount immediately because it is a standpoint of ignorance and the second portion is the lead actor was highly dissatisfied with the script, and critics use that reference as intention to slam the film. Oh please, there are countless times we all read about an actor not approving of a story, character, who’s involved, but with a few changes of story, and a favorite director is brought on-aboard or more money is offered, all three were deploy in the preproduction and we discover comedy gold. This movie doesn’t reflect on nor criticize the Universal creations of the 30s and 40s so much as pay tribute to them, although, they never technically meet Frankenstein (remember that’s the doctor’s name) they meet the Monster and  few other monsters. Some fans of the Universal Golden Age of Monsters incorrectly attribute Abbott and Costello’s film as the downfall of monsters scare-abilities that’s very misguided, first horror films have always incorporated elements of humor to break the tension in flicks for example the macabre ghoulish delightful note in The Invisible Man [1933] which involved Dr. Jack Griffin (Claude Rains) sings in a maniacal tone to a woman running away in fright or in The Bride of Frankenstein [1935] the scene of a wail from Minne (Una Connor), seen here at .52 time mark.

Nevertheless, the film praised by many worthy critics and a massive hit for the studio, after some tumultuous issues between the comedic duo, personal issues, and the dwindling return on the creature features, in fact the Library of Congress added the film to the National Film Registry for preservation in 2000. Most fans of the comedy genre agree with much respect the finest routine comes in the form of “Who’s on First” from Abbott and Costello, earning homage from the Seinfeld show, (and Jerry) as well as Jimmy Fallon to even the inclusion of the National Baseball Hall of Fame. Although to be fair horror comedies date back to many early films such the first was a short film entitled Haunted Spooks [1920] and the first feature length was The Monster [1925] a silent film which starred Lon Chaney’ however to be fair it often suggested that One Exciting Night [1922] holds the pioneering spot of the subgenre, that film leaned to mystery more than horror. Nonetheless The Old Dark House [1932] which serves a trope to this day in cinema and novels holds a fitting spotting as ‘talkie’ horror-comedy. It’s true to assume that Universal looked for a cash-grab to incite the monsters’ fans back to the theater with this project originally titled The Brain of Frankenstein, it would be among many changes that would occur before the camera began rolling. Frankly, this is a comedy, not a thriller not a monster movie, it’s an Abbott and Costello movie with monsters, and their good friend director Charles Barton knew how to handle their personality clashes as well as the monsters. Hence, the script by Robert Lees and Frederic I. Rinaldo is very lean with set-ups for scares in place, then their writer, John Grant, worked to create joke setups, mostly clean for the time but a few blue (sexual comedic) ones in place, nothing like the crude or crass of the Scary Movie franchise. The movie serves mostly for sight gags, rather than the common verbal jabs and jokes found in their films. The screenplay served more to guide the other actors, as the dynamic duo Bud and Lou would create their own hilarity for the production, though a nod needs to go to Universal-International’s animator Walter Lantz (of “Woody Woodpecker” fame) for the creation of the opening sequence and when Dracula transformed into a bat. The film was considered pricy for its time as comedic team earned $105,000 of a film originally budgeted at $792,270 (or $9.8 million adjusted for inflation in 2023).

The story opens with a deary fog drenched scene of Big Ben and London a lifted scene from Frankenstein Meets the Wolf Man [1943] and then tight shot of Talbot’s worrisome eyes peering the blinds, he’s secretly an unsung hero in the film, just as he was in the original The Wolf Man [1941], he’s anxiously waiting for a connecting call to the United States namely a shippers office (which is in Florida, and 5 hours behind them). One needs to understand in 1948, there’s no thought of instantaneously calling. We transition to Bud and Lou this time portraying Chick Young and Wilbur Grey, soon enough there’s a bit of comedic dialogue involving caring for Wilbur’s head after an accident all done to wink at the censors of then, primarily it comes from Sandra Mornay (Lenore Aubert (Abbott & Costello Meet the Killer, Boris Karloff [1949])), who appears to deeply care for him and we later learn more her background. Meanwhile, in a desperate attempt to stop impending doom and to foil a sinister plan Talbot tries in vain to call a shipping office from accepting delivery of crates of Dracula and the Monster (Frankenstein) but it doesn’t work. We witness the first of a few (about four) transmutations of him to the wolfman, and another comedic exchange/misunderstanding with Wilbur, all verbal as he believes he’s conversing with a dog.

There’s a quick transitional cut as meet a very minor character, named Mr. McDougal (Frank Ferguson (The Beast from 20,000 Fathoms [1953])), the owner for House of Horrors, a wax museum his rude exchange still as prevention as today with regard to customer service and yelling at staff personnel over trivial things. A bit of aerobic work is placed into the film as Wilbur becomes eventful in getting the crates, can you spot the goof? After arriving at the wax museum, the comedic moments start unloading in rapid fire, as they bring the crates Wilbur is left alone with Dracula’s coffin, reading the Legend of Dracula, only to be interrupted by the Count (Bela Lugosi (Dracula [1931])) must deal moving candles, harkens back to Hold that Ghost [1941], its hysterical. For a moment Dracula hypnotizes Wilbur to free The Monster, who speaks for the first time since The Ghost of Frankenstein [1944], though never explains how he regains his ability to speak. As The Monser sees Wilbur it is he who afraid not our beloved scaredy-cat Lou. McDougal arrives at two emptied but destroyed crates they are arrested believed to have stolen his exhibits, shortly afterward one gets a deeper understanding about the entire plot and Sandra’s intention. Our dynamic duo gets bailed out and meets Mr. Talbot which leads to another comical scene of Wilbur and Wolfman. Later an insurance investigator named Joan Raymond (Jane Randolph (Cat People [1942])) is introduced into the story as she’s hunting down the stolen items and tracking Wilbur as the ringleader of the crimes. Which frankly is unbelievable… Joan makes a pass at him and gets invited to a masquerade party, which becomes a juggernaut for Wilbur as she is his second date, recalling his love interest Sandra. It is long before they are all at Count’s Island castle where they meet Dr. Stevens (Charles Bradstreet) who has a mere romantic interest for Joan than performing any medical duties, but the hint that Sandra is really a doctor. The castle’s appearance outside and withing has those typical gothic trappings often found in Universal Picture early films. While for the ladies the oddly receive a call from Talbot, who must be part psychic and bloodhound to always know exactly where Wilbur is, yeah a tad too coincidental. In their search for Dracula, we have a very comical scene of Wilbur sitting on the Monster’s lap which needs several retakes (watching the scene below, one can see Glenn starting to laugh, yet holds his stoic position.

At the masquerade party another line that slips past the censors is uttered about 20 million guys becoming wolves at night it was in reference to Talbot insistence to be locked up as he will become a wolf. At last things go very wrong so quickly as another is attack and we have several chase scenes occurring before Chick becomes a believer. Once back at the castle for the third act, the chases get faster and more involved with all the monsters fighting. Dracula versus the Wolfman occurs while the Monster attacks Chick and Wilbur. Wilbur does a successful magician’s ‘Tablecloth Yank’ and pauses for a second to look directly at the camera with a grin, (breaking the fourth wall of acting) and suddenly remembers his character a return to his role/performance. As the story comes to a close they hear a disembodied voice, which belongs to Vincent Price as the Invisible Man. It’s a common pattern of pratfalls, suggestive lines and horror tropes that if explained likely ruin the humor or storylines therefore it is easy to say that there are many funny scenes throughout the production.

Contrary to popular belief, this movie doesn’t humiliate nor mock these titans of horror, Karloff refused to reprise his Monster role as he believed this film too greatly parodied his work on screen, though as a favor to the studio he assisted in marketing. It wasn’t after he saw both films, and understood the intended humor was more directed at to character Wilbur (Costello) than to any of the Universal properties, that he regretted his decision it was further evident by the box office returns of $3.2-million. He contacted the studio and shortly afterwards he starred in Abbott and Costello Meet the Killer, Boris Karloff [1949] and would later star in Abbott and Costello Meet Dr. Jekyll and Mr. Hyde [1953]. Since Karloff was a no go for The Monster role Glenn Strange took the reins for the film as he done in House of Frankenstein [1944], for most of the film except the day he broke his foot, when he tosses Aubert through the window loss his footing tripping over cables and fractured his ankle. He was temporarily replaced by Chaney who once before played the Monster in The Ghost of Frankenstein [1942]. Lugosi almost wasn’t cast into his titled role, but the instantaneous of his agent that he convinces the studio brass that you couldn’t replace him as he was Dracula, the rest was history for the film and his portrayal of the character as he sadly never again works for a major studio.

While some are quick to point to a weak storyline, it’s tough to comprehend how a story could play straight through with all these monsters and our bumbling shipping clerks to find themselves involved with the mayhem, the only other movie to attempt this was The Monster Squad [1987]. It doesn’t matter the comedy on screen makes one forget those continuity issues of other films sadly one significant contributing factor to those previous monstrosity creation was that special makeup guru Jack Pierce was not involved. This primary was due to a cost factoring, Pierce had a methodical pattern and is technique was incredibly time consuming making it impossible to prep three monsters and other cast personnel hence, his protégé, Bud Westmore, deployed foam latex applicants significantly saving valuable production time. I noted earlier that Lou Costello was displeased with the script, which is slightly true it was not the whole story, allow me to elaborate, he had an early draft, but once his good friend Charles arrived, it perks him up for the movie. However, a personal family matter plagued him five years earlier. His little boy drowned in the tragic swimming pool accident this greatly affected it so much that the studio allowed families on the set, which was uncommon, but helped tremendously well. In addition, to keep an upbeat production, a comedic performer and friend of Bud and Lou, Bobby Barber was hired as a sort of ‘court jester’ playing all sorts of practical jokes and taking liberties during rehearsals. In fact, during one such take Lou expects Chaney to emerge into his room, but was instead Bobby wearing a hat, cape and run through the set yelling “another husband is after me!” No one was excluded from the jokes, and for a while Bela found them amusing he wasn’t made fun of, however when it finally happened, he exclaimed “This foolery must stop, work must be done.” There are two very amusing scenes in the beginning of the third act, first the line exchanged between Chaney and Lou, slipped by the Hays code which was: Chaney “You don’t understand. Every night when the moon is full, I turn into a wolf.” Wilbur “You and twenty million other guys!” There is another significant goof in the film suddenly one could see Dracula’s reflection in a mirror. Shockingly no one caught this at the time, showing that Dracula does have some crafty powers.

This film tops my all-time favorite horror-comedies with Young Frankenstein [1974] a close second, it is a good movie, with many great moments with Abbott and Costello giving many hilarious quips. One of best aspects, it doesn’t linger on the screen, rather works to keep everything moving quickly and for myself every time I watch it I simply reminisce about those memories with my father thankful he introduced me to this comedic team. Abbott and Costello go on to meet many of Universal Monsters and Villains, though missed out of Phantom of the Opera and Creature from the Black Lagoon, although in 1943 it was original suggest they should encounter the phantom; nevertheless, in The Colgate Comedy Hour in 1954 the received the opportunity to meet the Creature. Regardless it’s fun family film to show with Universal Monsters treasured films and perfect for the Halloween season, even 75-years as they deliver electrifying, batty, and howling array of laughter!

TAGLINES:

  • It’s a grand new Idea for FUN !
  • Jeepers! The creepers are after Bud and Lou!
  • Jeepers! the creepers are after somebody – and guess who!
  • More howls than you can shake a shiver at!!!
  • The LAUGHS are MONSTERous! Bud and Lou are in a stew when they tangle with the TITANS of TERROR!

https://www.imdb.com/title/tt0040068/

IMDb Rating: 7.3/10

Baron’s Rating: 7.5/10

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