Gene Wilder was sitting on a fence. Literally. It was 1973, and he was out in the Antelope Valley shooting Blazing Saddles. Between takes, he pulled out a yellow legal pad and started scribbling. Mel Brooks walked over, saw his friend hunched over the paper, and asked what was up. Wilder told him he had an idea for another Frankenstein movie. Brooks, never one to mince words, basically told him we didn’t need another one. We had the son of, the cousin of, the brother-in-law of.
But Wilder had a hook. What if the grandson of the infamous Victor Frankenstein was a legitimate, uptight scientist who was absolutely mortified by his family’s "wacko" history?
That conversation gave us Young Frankenstein, arguably the greatest comedy ever made. But calling it a comedy feels like a bit of a disservice. Honestly, it’s a love letter. It’s a 105-minute, high-contrast, black-and-white hug for the Universal horror films of the 1930s.
The Gene Wilder Frankenstein Movie: A Deal Made on a Handshake
Wilder wasn't just the star; he was the architect. He co-wrote the script with Brooks, but he had one massive, non-negotiable condition: Mel Brooks could not be in the movie.
Usually, Brooks is all over his films—playing governors, Yiddish-speaking Indians, or megalomaniac presidents. Wilder wasn't having it. He told Brooks, "You have a way of breaking the fourth wall, whether you want to or not. I want to keep the illusion." He wanted the audience to believe in the world of Transylvania, not just wait for the next wink at the camera.
Brooks agreed. He stayed behind the lens, though he did sneak in a few voice cameos, like the howling wolf and the voice of Victor Frankenstein.
Why the Black and White Mattered
Columbia Pictures almost killed the movie before it started. They were willing to fund it, but they demanded it be shot in color. In the mid-70s, black and white was considered box office poison. Studios thought it looked "cheap" or "old."
✨ Don't miss: Elaine Cassidy Movies and TV Shows: Why This Irish Icon Is Still Everywhere
Brooks and Wilder knew better.
They wanted to capture the soul of James Whale’s 1931 original. They eventually walked away from Columbia and took the project to 20th Century Fox, who gave them a $2.8 million budget and the freedom to stay "colorless." To make it authentic, they tracked down Kenneth Strickfaden. He was the guy who built the original electrical laboratory props for the 1931 Frankenstein.
Guess what? He had the equipment sitting in his garage.
The sparks you see in the gene wilder frankenstein movie aren't just special effects. Those are the actual 1930s machines humming and buzzing. It’s that level of obsessive detail that makes the film feel so grounded despite the absurdity.
The Scenes That Almost Didn't Happen
If you ask anyone about this movie, they’re going to mention "Puttin' on the Ritz." It’s the peak of the film—Frederick Frankenstein and his Monster in top hats and tails, doing a soft-shoe routine.
Mel Brooks hated the idea.
🔗 Read more: Ebonie Smith Movies and TV Shows: The Child Star Who Actually Made It Out Okay
He thought it was too silly. He thought it would ruin the "salute" to Mary Shelley’s story. He and Wilder fought for days. Wilder eventually broke down, almost in tears, defending the scene. Brooks finally relented, saying, "If you're willing to fight this hard for it, there must be something I'm not seeing."
He was right. It’s the heart of the film. It’s the moment the Monster becomes a man, and the creator becomes a proud father.
Improv and Happy Accidents
While the script was tight, some of the best bits were just people being weird on set.
- The Hump: Marty Feldman (Igor) decided to move his prosthetic hump from left to right every few days. He didn't tell anyone. Eventually, the cast noticed, and it became the "What hump?" running gag.
- Gene Hackman's Cameo: Hackman actually asked Wilder for a part because they were tennis partners. He played the blind man for free. The "I was gonna make espresso" line? Total ad-lib. The crew was laughing so hard they had to cut the scene immediately.
- The "No Tongues" Rule: When Madeline Kahn’s Elizabeth tells Frederick "no tongues" during a kiss, that wasn't in the script. Wilder’s stunned, silent reaction was a genuine response to her improvisation.
A Legacy That Still Walks This Way
The impact of the gene wilder frankenstein movie leaked out of the theater and into the real world in weird ways. The band Aerosmith actually wrote their hit "Walk This Way" after seeing the movie. They took a break from recording, caught a showing, and couldn't get Marty Feldman’s line out of their heads.
It’s also one of the rare comedies that the Library of Congress deemed "culturally significant" for the National Film Registry.
But for Wilder, it was personal. He often said it was his favorite film he ever made—even more than Willy Wonka. There was something about the camaraderie on that set. They were all having so much fun that they had to do sometimes 15 takes of a single scene because Wilder or Cloris Leachman couldn't stop laughing.
💡 You might also like: Eazy-E: The Business Genius and Street Legend Most People Get Wrong
Expert Insight: Why It Still Works
Most parodies today are lazy. They just reference a thing and wait for you to recognize it. Young Frankenstein doesn't do that. It understands the grammar of the movies it's poking fun at.
It uses iris-outs and wipes. It uses high-contrast lighting that makes the shadows look like ink. It respects the source material. You can tell they love these monsters.
Moving Forward with the Monster
If you've only seen the clips on YouTube, you're missing the full experience. The film is a masterclass in pacing and tonal balance.
Next Steps for Your Rewatch:
- Look for the props: Now that you know they are the 1931 originals, the laboratory scenes carry a lot more weight.
- Watch the eyes: Peter Boyle (the Monster) does incredible work without saying much. His "dead" look was achieved with green makeup that looked grey in black and white.
- Check out the musical: If you’re a superfan, the Broadway adaptation (also by Mel Brooks) expands on the Frau Blücher/Victor backstory that the movie only hints at.
This movie isn't just a "spoof." It’s a beautifully shot, meticulously written, and perfectly acted piece of cinema that proves comedy can be art.