13 Flicks for Halloween

Happy Halloween! 

I haven't ranked my favorite fright flicks in years -- and I won't be tonight, either! Instead, here are thirteen movies on my mind this Halloween, all after the jump. Feel free to take these as recommendations, and enjoy...

Casting Coup Tuesday: Young Frankenstein

One Sunday -- third grade, perhaps? -- I came home from a friend's house to see my parents watching a horror movie on TV. I was into old school horror for a while (still am): if it was black-and-white and had a Frankienstein or a vampire or a Chaney, I was in.

My parents seemed a trifle wary about my joining them...but my dad had a certain rule for even the most risque films: if it was awesome, it was the exception. So it was that I sat down and prepared to enjoy some creature feature thrills and chills.

But this Frankenstein movie seemed different. This one seemed....funny. And why were Mrs. White and Willy Wonka in this?

Well, you better believe by that Christmas I had Young Frankenstein on VHS. It was a favorite of mine, perfect for a rainy day. And as the years went by, I found more and more people who felt as I did. Imagine my excitement when, studying the original novel in high school, the teacher chose the Mel Brooks version as the finest cinematic execution of the conflict and themes Mary Shelley first portrayed. And even if it wasn't, it was entertaining enough to keep us quiet for a bit.

Since I was already a fan of the Universal films, Young Frankenstein offered more to me than just laughs. I appreciated Mel Brooks' affectionate homage on a technical level, from the sets to the cinematography to the acting to the music to...I mean, you get it. I was also surprised by the emotional depth: the Monster's climactic appeal for love and understanding for himself and his creator is beautifully written and performed, but it's Frederick's own acceptance of both the Monster and his family in the middle that has always struck me as the most moving scene in the film.

Young Frankenstein was equally successful with critics and audiences. At the box office, it was bested only by The Towering Inferno and Mel Brooks' other genre parody, Blazing Saddles. Gene Wilder and Mel Brooks found themsleves nominated for the Academy Award for Best Adapted Screenplay, while co-stars Cloris Leachman and Madeline Kahn earned Golden Globe nominations of their own. Richard Portman (who would eventually win for The Deer Hunter) and Gene Cantamessa (ditto for ET) were nominated for their sound work, but all the nominations in those "prestigious" awards bodies came to naught. Still -- when you're a black-and-white horror-comedy, going up against The Godfather: Part II on Hollywood's biggest night ain't bad.

Naturally, we can never let a good thing go, so it was inevitable that, following the success of his Broadway adaptation of The Producers, Brooks would choose Young Frankenstein as his follow-up. Actually, I think Young Frankenstein would be ripe for a musical transfer, but Brooks' music here is similar to that of The Producers. And let's face it, what's good for the satire about show business is not good for the homage to horror classics. But I bring this up not just to note the film's continued influence, but to mention that there is precedence for re-casting the roles of this classic comedy.

And here's mine:

ELIZABETH

Who is She: Frederick's fiancee, a high-maintenance city gal who surprises her love with an impromptu visit. She is kidnapped by the lustful Monster Frederick created....but finds herself not entirely displeased.

Originally played by: Academy Award Nominee for Best Supporting Actress (Paper Moon, Blazing Saddles), Golden Globe Nominee for Best Supporting Actress (Paper Moon, Young Frankenstein), SAG Award Nominee for Best Ensemble (Nixon)

Madeline Kahn (What's Up, Doc?, Clue)

My Choice: Hollmann Award Winner for Best Supporting Actress (Doubt), Academy Award/SAG Award Nominee for Best Supporting Actress (Junebug, Doubt, The Fighter), BAFTA Award/Golden Globe Nominee for Best Supporting Actress (Doubt, The Fighter), Golden Globe Nominee for Best Actress - Musical/Comedy (Enchanted), SAG Award Nominee for Best Ensemble (Doubt, The Fighter)

Amy Adams (Trouble with the Curve, The Master)

She should play bitchy more often. And comedy.

INSPECTOR KEMP

Who is He: Transylvanian police inspector with the false arm, one eye and limp. Visits Frederick to assuage the village's fears, but later feels that it's about time to riot. His accent is so thick as to be barely comprehensible.

Originally played by:

Kenneth Mars (Butch Cassidy and the Sundance Kid, We're Back: A Dinosaur Story)

My Choice:

Matt Berry (Moon, Snow White and the Huntsman)

He of the distinctive voice, from the television shows "Garth Marenghi's Darkplace" and "The IT Crowd". Could bring the authority that comes with being a police inspector, and certainly capable of executing the ridiculous.

FRAU BLUCHER

Who is She: Loyal housekeeper of Castle Frankenstein, she lures Frederick to Victor's diary, tempting him to also play God and create the Monster. In the past, she helped Victor...loved Victor...he was her boyfriend!

Originally played by: Hollmann Award Nominee for Best Supporting Actress (Young Frankenstein), Academy Award/BAFTA Award Winner for Best Supporting Actress (The Last Picture Show), Golden Globe Nominee for Best Actress - Musical/Comedy (Charley and the Angel, Young Frankenstein) and Best Supporting Actress (The Last Picture Show), SAG Award Nominee for Best Supporting Actress (Spanglish)

Cloris Leachman (Sky High, The Oogieloves in: The Big Balloon Adventure)

My Choice:

Catherine O'Hara (Penelope, Away We Go)

One of the very best comic actresses in the business, so effective because she doesn't play comic characters, but people who happen to be amusing or funny or embarrassing. She's a master of voice-work: witness her playing multiple parts in Nightmare Before Christmas and Frankenweenie. Can't you just see her climbing up those stairs, fiddle in hand, screaming, "He vass my BOYFRIENNNNN'!"?

INGA

Who is She: Frederick's beautiful assistant, fiercely loyal, often up for a roll in ze hay.

Originally played by: Academy Award/BAFTA Award Nominee for Best Supporting Actress (Tootsie)

Teri Garr (Oh, God, Pret-a-Porter)

My Choice:

Malin Akerman (Watchmen, Rock of Ages)

Her work with the alum of The State on "Children's Hospital" and Wanderlust, and with Lisa Kudrow on "The Comeback", showcase her comic chops. Never playing down her beauty, yet never relying on looks alone, Akerman's one of the more exciting comediennes the decade's offered us. I'm pretty sure she can do the accent -- I know she's Swedish, which isn't the same at all as Transylvanian, but I feel like she could probably do a good German voice. And she's just so lovely!

IGOR

Who is He: Frederick's hump-backed assistant, grandson of the original Ygor. Eager to please, almost child-like, one of my favorites.

Originally played by: Hollmann Award Nominee for Best Supporting Actor (Young Frankenstein), Golden Globe Nominee for Best Supporting Actor (Silent Movie)

Marty Feldman (The Magnificent Seven Deadly Sins, The Last Remake of Beau Geste)

My Choice: SAG Award Nominee for Best Ensemble (Frost/Nixon)

Toby Jones (Finding Neverland, City of Ember)

The man deserves every possible chance to prove himself. Although he gets funny bits in some of his roles, he has yet to really showcase his comic talents on film. Now is the time.

THE MONSTER

Who is He: Frederick's creation, blessed with a talent for Irving Berlin and an enormous schwanz.

Originally played by:

Peter Boyle (Taxi Driver, The Adventures of Pluto Nash)

My Choice:

Jason Segel (Forgetting Sarah Marshall, The Five-Year Engagement)

FREDERICK FRANKENSTEIN

Who is He: The American grandson of the Dr. Victor Frankenstein, seeking to distance himself from Grandpa's reputation by offering a different pronunciation of his name (Fronk-en-steen). Inheriting his grandfather's estate, he travels to Transylvania and finds himself caught in the same madness that haunted Victor: the creation of human life.

Originally played by: Hollmann Award Winner for Best Adapted Screenplay (Young Frankenstein), Academy Award Nominee for Best Supporting Actor (The Producers) and Best Adapted Screenplay (Young Frankenstein), Golden Globe Nominee for Best Actor - Musical/Comedy (Willy Wonka and the Chocolate Factory, Silver Streak), WGA Award Nominee for Best Adapted Comedy (Young Frankenstein)

Gene Wilder (Haunted Honeymoon, The Woman in Red)

My Choice: SAG Award Nominee for Best Ensemble (The Cider House Rules)

Paul Rudd (Clueless, Wanderlust)

His understated delivery works for him as much as it did Gene Wilder. But his more laid-back, everyman approach, even when playing prude, would guarantee a new interpretation that would still kill.

Ghoulish Delights Forthcoming!

They're coming to get you, reader...

Yes, lovelies, HALLOWEEN is rearing its horrifying, awesome head, which means it's time to re-imagine those gran guignol faves of mine with the stars of today! Why? Because at the rate moviemaking is going, they're going to remake them anyway, so why not throw in my two cents at the outset?

But what would this be without you telling me what you want? I've already got four of the films in mind; now you're gonna tell me what to finish with. And here's the best part: no matter what you choose, I've never seen it before! I'll be reviewing a new (to me) film and offering a Casting Coup! Hooray!

poll by twiigs.com

 

You can also see this poll on the sidebar.

Of course, I'll also try to put up reviews of the horror flicks I watch this month, so feel free to recommend your own favorites!

Oh, and before I forget, the other four Casting Coups for October:

Hush...Hush, Sweet Charlotte

October 2

 Strait-Jacket

October 9

Young Frankenstein

October 16

 Theatre of Blood

October 23

YOUR PICK

October 30 

Out with the Old, In with the Older

As you can see on the right, the poll is closed and the people have spoken. But before I officially unveil what you can already see, one last mention of 1974: my Top Ten of the Year.

1974 Hollmann Awards: The Majors

The awards continue and conclude.

Hollmann Awards 1974: The Technicals

At long last...22 years of life...37 years of cinematic history....Ladies and gentlemen, the 1974 Hollmann Awards. No, there's no list of nominees to get acquainted with; it's all here, winners and runners-up, in one fowl swoop. First up, the technicals. Catch them after the jump:

UPDATE: Realized I hit publish before I made my final changes in Art Direction. The winner and runner-up have been switched so that the proper film is given its due.

One Good Turn...: Adapted Screenplay, 1974

We're up to the last leg of our grand 1974 tribute. Will we make it in time? Probably; tomorrow's my day off. For now, let's talk about works inspired by other works.

Mordecai Richler and Lionel Chetwynd for The Apprenticeship of Duddy Kravitz, adapted from the novel by Richler

**

Two hours with an itchy Richard Dreyfuss scrimping and lying for every penny he can better be damn interesting. It really is throughout a lot of it, but then every now and then it decides to throw subtlety out the window and directly address the issues of greed, materialism, the American Dream and antisemitism by, you know, naming them in very on-the-nose conversations. But for the most part, it's an interesting story, though I do think it's waaaaaaay bloated. Also, I don't even remember how he got into films. It was pretty vague.

Mario Puzo & Francis Ford Coppola for The Godfather: Part II, adapted from the novel by Mario Puzo

****

Puzo and Coppola give us two arcs to follow. The main one concerns Michael Corleone's further descension into evil as he expands the family business to Nevada and Cuba while facing betrayal within the family and a senate investigation. My love of cinematic senate committees certainly helps, but the relationship between Fredo and Michael is the real selling-point here. Forget the miscarriage, forget Bruno V. Gazzo; this one is all about the conflict between a younger brother in control and an older brother who always falls short. This is the story that wins Best Picture. Cazale and Pacino are selling the hell out of it, sure, but the big scene written for them -- "I'm smart! Not like everyone says, like dumb!" -- is surely one of the best-written moments in the series. I'm also rather fond of all the Hyman Roth scenes.

The second plot is the part adapted from Puzo's original novel, in which we witness Vito Corleone's rise to power in early 20th-century New York. The decision to juxtapose these humble beginnings with Michael's dealings with high-powered senators and the Cuban government is an intriguing, make no mistake, but it tends to interrupt the flow of the main narrative. Perhaps what keeps me from fully embracing this section is the lack of time given to it. Surely it's deserving of its own film entirely, the better to explore the era and get to know Vito. Its inclusion here seems a little forced, as though Coppola and Puzo are too insistent on making the Corleone saga the Great American Epic.

Julian Barry for Lenny, adapted from his play

*****

First and foremost, I am impressed by the characterizations, from the sweet and sad Honey to the enabling Sally to the confused yet caring Artie. Oh, and of course there's Lenny, whose written with enough consistency to make a fully-developed character but loosely enough to reflect on whoever is narrating. The script is without judgment, and the structure of the story -- Lenny's life as conveyed in interviews with his nearest and dearest -- allows for truths, half-truths and legends to get all mixed together, giving us joy, laughter, anger and deep sadness. Barry's work is funny and, more importantly, relatable...to the extent that one relates to a comic provocateur who OD'd. This movie really is pretty perfect.  

Paul Dehn for Murder on the Orient Express, adapted from the novel by Agatha Christie

***

Dehn deepens the characters/suspects, keeping each interview with Poirot from feeling same-old or episodic. One really must credit Dehn for getting Bergman her Oscar, for his rendering of Greta Ohllson is far deeper and more complicated than in Christie's original. He doesn't take the proceedings too seriously -- an element that sort of bogged down the recent television version -- and allows the characters to engage in witty repartee throughout (Poirot's interrogation of Vanessa Redgrave is an excellent example).

Of course, Dehn is not perfect. I think his characterization of Anthony Perkins' role is tired, for one. He also gives too many hints to the solution throughout the film, and he clearly has no idea what to do with Bianchi (Martin Balsam) or some of the suspects. Should those ten minutes really kill the remaining 120 of fun, though? Of course not.

Mel Brooks & Gene Wilder for Young Frankenstein, adapted from the Universal films and the novel by Mary Shelley

*****

It's obvious Wilder and Brooks have great affection for their spoof material; indeed, this is not a parody so much as it is a tribute with a sense of humor. It's a sharp contrast to the kitchen-sink approach of Blazing Saddles: Young Frankenstein is not only hilarious and intelligent, but it's also genuinely moving in places. The monologue at the end is a perfect example of this, as is the scene just preceding the famous "Puttin' on the Ritz" number. Every character gets their great moment, whether it's Inga's knockers, Frau Blucher's confession, Elizabeth's seduction, or Inspector Kemp's game of darts. I also love the subtlety of certain gags: when young Frederick Frankenstein (pronounced Fronkensteen) is taking trains to get to Transylvania, the conversation a couple has on the German train is an exact translation of the conversation a couple has on the American one.

--------------------------------

Oscar was feeling the love for the gangster drama, and so The Godfather: Part II won here. Were I to check off a box on my ballot, though, the Oscar would go to...

BROOKS & WILDER

for

YOUNG FRANKENSTEIN

I suggest you put on a tie