"Young Frankenstein" Returns to Theaters for One Night Only - October 5th, 2016

‘Fronkensteen’ or ‘Frankenstein’? Audiences Decide When ‘Young Frankenstein’ Jolts Back Into U.S. Cinemas for One Special Night With a Live Introduction by Legendary Mel Brooks

Presented by Fathom Events and Twentieth Century Fox, This 1974 Classic Spoof on Horror Films Hits the Big Screen October 5, 2016 Only

DENVER--(BUSINESS WIRE)--It’s alive! It’s alive! up on the big screen for one special night when 20th Century Fox and Fathom Events present the electrifying comedy classic “Young Frankenstein” in cinemas nationwide. Seeing this black-and-white masterpiece on the big screen with fellow audience members is a rarity in itself, but to make this screening a truly one-of-a-kind experience, writer and director Mel Brooks will introduce the classic live from the 20th Century Fox Lot—near the “Young Frankenstein” Mural on Stage 5, which was unveiled on the film’s 40th anniversary.

    .@FathomEvents News: It's alive! It's alive! #YoungFrankenstein is up on the big screen for one special night 10/5

Brooks will also pay tribute to his friend and the film’s star and co-writer, Gene Wilder, who passed away recently.

“Young Frankenstein” comes to movie theaters nationwide on Wednesday, October 5, 2016, at 8:00 p.m. ET / 7:00 p.m. CT / 6:00 p.m. MT / 5:00 p.m. PT. During the introduction, Brooks will give moviegoers a tour of the Fox studio lot, including Mel Brooks Blvd., the Young Frankenstein mural, and the location of the film’s original shoot.

Tickets for “Young Frankenstein” can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in more than 400 select movie theaters through Fathom’s Digital Broadcast Network. For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).

Young Frankenstein brings together Brooks’ inimitable style with a loaded cast of comedy legends, including Gene Wilder as Frederick Fronkensteen, Marty Feldman as shifty humpback Igor, Teri Garr as the hay-rolling lab assistant Inga, Madeleine Kahn as Dr. Frankenstein’s high-strung fiancée Elizabeth, Peter Boyle as the kind-hearted monster, an uncredited Gene Hackman as the blind man who befriends him, and Cloris Leachman as Frau Blücher.

Join the young neurosurgeon (Wilder), as he inherits the castle of his grandfather, the famous Dr. Victor von Frankenstein. Young Frankenstein believes that the work of his grandfather is useless, but when he discovers the book where the mad doctor described his reanimation experiment, he suddenly changes his mind.

“Mel Brooks has sold out venues nationwide, including Radio City Music Hall, when he has introduced his movie classics. It is an incredible honor to be able to bring fans all over the country a live, personal introduction by Mel to one of his most famous and unforgettable films,” Fathom Events Vice President of Studio Relations Tom Lucas said. “It will be a night to remember.”

Following the massive success of Brooks’ Blazing Saddles, Twentieth Century Fox unleashed Young Frankenstein on audiences on December 15, 1974, and it went on to play for months, grossing more than $86 million – equivalent to nearly $400 million in today’s dollars. Nominated for two Academy Awards®, including its screenplay by Wilder and Brooks, Young Frankenstein has become one of the best-known – and most quoted – comedies of all time, ranking No. 13 on the American Film Institute’s list of 100 funniest films.

Continuing the celebration of this comedy classic, Black Dog & Leventhal, an imprint of Hachette Books, will be publishing Young Frankenstein: A Mel Brooks Book: The Making of the Film, an oversized, illustrated book featuring a complete, behind-the-scenes look at the making of Young Frankenstein, with a foreword by Judd Apatow. This new hardcover will be available wherever books are sold on October 18, 2016.


About Fathom Events
Fathom Events is recognized as the leading domestic distributor of event cinema, and ranks as one of the largest overall distributors of content to movie theaters. Owned by AMC Entertainment Inc. (NYSE: AMC), Cinemark Holdings, Inc. (NYSE: CNK) and Regal Entertainment Group (NYSE: RGC) (known collectively as AC JV, LLC), Fathom Events offers a variety of one-of-a-kind entertainment events that include live, high-definition performances of the Metropolitan Opera, dance and theatre productions such as the Bolshoi Ballet and National Theatre Live’s Hamlet, sporting events like FS1 Presents USA v Mexico, concerts with Roger Waters and One Direction, the TCM Presents classic film series and faith-based events such as The Drop Box and Four Blood Moons. Fathom Events takes audiences behind the scenes and offers unique extras including audience Q&As, backstage footage and interviews with cast and crew, creating the ultimate VIP experience. Fathom Events’ live digital broadcast network (“DBN”) is the largest cinema broadcast network in North America, bringing live and pre-recorded events to 887 locations and 1,354 screens in 181 Designated Market Areas® (including all of the top 50). For more information, visit www.fathomevents.com.

About 20th Century Fox
One of the world’s largest producers and distributors of motion pictures, 20th Century Fox produces, acquires and distributes motion pictures throughout the world. These motion pictures are produced or acquired by the following units of 20th Century Fox Film: Twentieth Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, Fox International Productions, and Twentieth Century Fox Animation.

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

Review: "History of the World: Part I" is as Funny as Ever (Happy B'day, Mel Brooks)

TRASH IN MY EYE No. 205 (of 2004) by Leroy Douresseaux

Mel Brooks’ History of the World: Part I (1981)
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – R
WRITER/PRODUCER/DIRECTOR: Mel Brooks
CINEMATOGRAPHER: Woody Omens (D.o.P.)
EDITOR: John C. Howard
COMPOSER: John Morris

COMEDY/HISTORICAL/MUSICAL

Starring: Mel Brooks, Dom DeLuise, Madeline Kahn, Harvey Korman, Cloris Leachman, Ron Carey, Gregory Hines, Pamela Stephenson, Shecky Greene, Sid Caesar, Mary-Margaret Humes, Rudy De Luca, Andréas Voutsinas, Spike Milligan, and Orson Welles with Barry Levinson and John Hurt

The subject of this movie review is History of the World: Part I, a 1981 comedy film from writer-director Mel Brooks. The film is a parody the various kinds of historical films, including period costume dramas and sword and sandal epics. The catchphrase “It’s good to be the king” originated in this film. History of the World: Part I contains mock coming attractions for “History of the World: Part II,” but that was a joke, as no actual sequel was planned.

Mel Brooks writes, directs, produces, and plays five roles in his comedy semi-classic, History of the World: Part I. The film can be considered an anthology or a series of vignettes that take a farcical, skewered, and wacky view of history from the dawn of man through the cavemen, the Roman Empire, and the Spanish Inquisition, to the French Revolution. The film also features some appearances by Brooks’ films semi-regulars including Madeline Kahn and Harvey Korman.

I can’t imagine why Brooks picked the particular pre-historical and historical periods he did; perhaps, they were the funniest to him or he found in them the most to send up. However, the film is only mildly funny until the Spanish Inquisition segment, which is a musical number with a dance routine that even features water ballet. Both the song and the dance numbers are both awesome and freaking hilarious. Perhaps, the film’s best bit is the closing segment, the French Revolution. Some of the most famous quotations from Mel Brooks’ films come from this side-splitting section. It alone is more than reason enough to see this film.

Most of the jokes here are sight gags and anachronisms, but when Brooks and his cast are “on” in this film, the picture really works, as in the aforementioned second half. It’s worth noting that History of the World: Part I is not a great work, but because of it does have some great moments, it’s not to be missed.

7 of 10
B+

Updated: Friday, June 28, 2013

Review: "The Muppet Movie" Still Moves Me

TRASH IN MY EYE No. 96 (of 2011) by Leroy Douresseaux

The Muppet Movie (1979)
Running time: 95 minutes (1 hour, 35 minutes)
MPAA – G
DIRECTOR: James Frawley
WRITERS: Jack Burns and Jerry Juhl
PRODUCER: Jim Henson
CINEMATOGRAPHER: Isidore Mankofsky
EDITOR: Chris Greenbury
COMPOSER: Paul Williams
SONGS: Paul Williams and Kenny Ascher
Academy Award nominee

FANTASY/COMEDY/ADVENTURE/FAMILY

Starring: The Muppets, (voices) Jim Henson, Frank Oz, Jerry Nelson, Richard Hunt, Dave Goelz; Charles Durning, Austin Pendleton, Edgar Bergen, Mel Brooks, Dom DeLuise, Elliot Gould, Madeline Kahn, Steve Martin, Cloris Leachman, Richard Pryor, Bob Hope, James Coburn, Milton Berle, and Orson Welles

The Muppet Movie is a 1979 live-action, comic fantasy film and musical. This Oscar-nominated film stars The Muppets, the puppet characters created by the late Jim Henson, specifically the characters that appeared on the television series, “The Muppets” (1976-81). A film-within-in-a-film, The Muppet Movie tells the story of how The Muppets came together, or, as Kermit the Frog says, “It’s sort of approximately how it happened.”

The film begins with Kermit the Frog (Jim Henson) relaxing in a Florida swamp on a sunny afternoon, when a Hollywood agent tells him that he should pursue a career in Hollywood. Inspired by the idea of “making millions of people happy,” Kermit begins a cross-country journey, at first by bicycle. After an accident, Kermit teams up with Fozzie Bear (Frank Oz) and resumes the trip in Fozzie’s Studebaker. Along the way, they pick up fellow travelers like The Great Gonzo (Dave Goelz) and his mate, Camilla the Chicken (Jerry Nelson), and of course, Miss Piggy (Frank Oz).

Meanwhile, the villainous Doc Hopper (Charles Durning) and his assistant, Max (Austin Pendleton), pursue them. The Colonel Sanders-like Hopper is the owner of a “French-fried frog legs” fast food franchise, and he wants Kermit to be the new spokesman for the franchise. After Kermit says no, Hopper chases him, making offers that become increasingly threatening.

Prior to this recent viewing, I had not seen The Muppet Movie since the early 1980s (I think), but I remember liking it. I wasn’t sure how I’d feel about it now, but it turns out that I still love the movie. Is the reason nostalgia? No, The Muppet Movie is simply an excellent film. As a film musical, it has terrific songs from Paul Williams and Kenny Ascher, and three of them (“Rainbow Connection,” “Movin’ Right Along,” and “Can You Picture That?”) are great.

As a comedy, it is sharp and smart, surprisingly so for a film that is aimed at children, although “The Muppet Show,” was meant to appeal to both children and adults. There is sly innuendo, clever word play, and snappy dialogue. The film even offers satire, such as its skewering of the desire to be famous for entertaining.

And hell, ya’ll, it’s the Muppets. What could be unlikable about them? I look forward to my next viewing of The Muppet Movie, and I want to encourage you, dear readers, to see it if you haven’t already or to just see it again.

8 of 10
A

NOTES:
1980 Academy Awards: 2 nominations: “Best Music, Original Song” (Paul Williams and Kenny Ascher for the song "The Rainbow Connection") and “Best Music, Original Song Score and Its Adaptation or Best Adaptation Score” (Paul Williams and Kenny Ascher)

1980 Golden Globes: 1 nomination: “Best Original Song - Motion Picture” (Paul Williams and Kenny Ascher for the song "Rainbow Connection")

2009 National Film Preservation Board, USA: “National Film Registry”

Monday, November 21, 2011

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

Review: "Blazing Saddles" Still Rides Hard and Funny (Happy B'day, Darby)

TRASH IN MY EYE No. 11 (of 2004) by Leroy Douresseaux

Blazing Saddles (1974)
Running time: 93 minutes (1 hour, 43 minutes)
MPAA – R
DIRECTOR: Mel Brooks
WRITERS: Andrew Bergman, Richard Pryor, Norman Steinberg, Alan Uger, and Mel Brooks, from a story by Andrew Bergman
PRODUCER: Michael Hertzberg
CINEMATOGRAPHER: Joseph Biroc (D.o.P.)
EDITOR: Danford Greene and John C. Howard
Academy Award nominee

COMEDY/WESTERN

Starring: Cleavon Little, Gene Wilder, Harvey Korman, Madeline Khan, Slim Pickens, Alex Karras, Mel Brooks, Claude Ennis Starrett, Jr., Liam Dunn, Dom DeLuise, David Huddleston, John Hillerman, George Furth, and Carol DeLuise

Hedley Lamarr (Harvey Korman), a corrupt political boss, wants to run a railroad through the small western town of Rock Ridge, but he has to ruin the town so its citizens will want to leave. Lamarr appoints a black sheriff named Bart (Cleavon Little), thinking that will certainly demoralize them and make them leave Rock Ridge. Bart, however, joins forces with a washed-up gunfighter Jim (Gene Wilder), also known as The Waco Kid, and becomes Lamarr’s formidable adversary. Lamarr then concocts a plan to have a collection of the vilest criminals, cutthroats, and thieves ravage Rock Ridge. Bart, however, rallies the townspeople (who initially hated having a black sheriff) to a grand stand off against their would be destroyers.

Blazing Saddles is one of the great film comedies (it would certainly make my Top 10), and is still the all-time best parody of movie westerns. Actually, the film takes on a western sub-genre, the horse opera, in which a beleaguered sheriff, all but abandoned by the townsfolk he’s sworn to protect, must stand alone against corrupt, greedy, and murderous men. What really makes Blazing Saddles work as a parody of westerns is that the film really works like a western. It looks and feels like a classic western flick from Hollywood’s golden era of Technicolor westerns. In order for a spoof to work, the spoof has to fell like the thing it’s parodying.

Unlike a lot of parodies, Blazing Saddles also has a plot and solid story structure – a clear beginning, middle, and end, and the characters are excellent. A fine group of character actors also play the parts. Cleavon Little and Gene Wilder are excellent comedians, both fun with a kind of likeable slyness, but Madeline Kahn and Slim Pickens also give bravura performances in small roles that help to define the movie.

Blazing Saddles is funny and brilliant, heavy with belly laughs. Although I’ve encountered many people who don’t like it for various reasons, the is one of the films that firmly established director Mel Brooks as a great American comic, a funny man in any medium.

9 of 10
A+

NOTES:
1975 Academy Awards: 3 nominations: “Best Actress in a Supporting Role” (Madeline Kahn), “Best Film Editing” (John C. Howard and Danford B. Greene), and “Best Music, Original Song” (John Morris-music and Mel Brooks-lyrics for the song "Blazing Saddles")

1975 BAFTA Awards: 2 nominations: “Best Screenplay” (Mel Brooks, Norman Steinberg, Andrew Bergman, Richard Pryor, and Alan Uger) and “Most Promising Newcomer to Leading Film Roles” (Cleavon Little)

2006 National Film Preservation Board, USA: National Film Registry

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

Review: "Young Frankenstein" is Eternally Funny

TRASH IN MY EYE No. 51 (of 2005) by Leroy Douresseaux

Young Frankenstein (1974) – Black & White
Running time: 105 minutes (1 hour, 45 minutes)
DIRECTOR: Mel Brooks
WRITERS: Gene Wilder and Brooks – screen story and screenplay (based upon the novel Frankenstein by Mary Shelley)
PRODUCER: Michael Gruskoff
CINEMATOGRAPHER: Gerald Hirschfeld
EDITOR: John C. Howard
Academy Award nominee

COMEDY/HORROR with elements of drama, sci-fi, and romance

Starring: Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Cloris Leachman, Terri Garr, Kenneth Mars, and Gene Hackman

Mel Brooks’ Young Frankenstein is a tribute to Mary Shelley’s classic novel, Frankenstein, by way of parody. The film pokes fun at the various film versions of the novel, in particular the Universal Pictures versions. Parody’s work best when the parody looks a lot like the material at which it’s poking fun; that is why Young Frankenstein and Brooks’ other famous send-up, Blazing Saddles, work so well. Saddles looks, sounds, and walks like a western, and Young Frankenstein is a beautiful, black and white dream that looks as if it were born right next to the Universal’s Frankenstein films. In fact, this film was shot on the same set with the same props and lab equipment as the original 1931 film, Frankenstein.

After years of trying to live down the family’s reputation, Frederick von Frankenstein (Gene Wilder) is summoned by a will to his late grandfather, Victor von Frankenstein’s, castle in Transylvania. He is joined at the castle by Inga, (Terri Garr), who tells Young Frankenstein that she is his assistant, and by Igor (Marty Feldman), whose grandfather worked for Frederick’s grandfather. Frederick eventually discovers his grandfather’s step-by-step manual explaining how to reanimate dead tissue. He repeats granddad’s experiments and creates The Monster (Peter Boyle). However, despite his imposing size and frightful face, The Monster only wants to be loved, but the local villagers aren’t buying it. The Monster repeatedly tries to escape the fright and ignorance that wants to destroy him, but Frederick wants to bring him home and teach him to live amongst people.

1974 was a good year for Brooks because it also saw the release of his classic send up of westerns, Blazing Saddles. Young Frankenstein is still considered by many to be his best film (I take the other side saying Saddles is his best), and the film remains a gorgeous black and white ode not only to Frankenstein movies, but also to the beauty of black and white films and how the splendor of their superb costume designs and lavish and ornate sets were still evident even without the benefit of color photography.

The cast is also superb, and no one single person needs to be singled out because everyone is at the top of his or her game. However, the late Marty Feldman wasn’t shy about playing up the fact that he was acting in a comedy. Paying special attention to him every time he’s on screen is worth the patience when paid off in comic gems. The film also has a lot of good jokes and clever gags, and the timing is impeccable – apparently due to a lot of editing. That’s probably the best thing about this film; watching it gives the sensation that everything works, makes sense, and that the humor is true. Young Frankenstein is one of the great film comedies, and is not to be missed.

8 of 10
A

NOTES:
1975 Academy Awards: 2 nominations: “Best Sound” and “Best Writing, Screenplay Adapted from Other Material”


1975 Golden Globes: 2 nominations: “Best Motion Picture Actress – Musical/Comedy” (Cloris Leachman) and “Best Supporting Actress – Motion Picture” (Madeline Kahn).


2003: the National Film Preservation Board, USA added the movie to the National Film Registry.

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