Abbott & Costello Meet Frankenstein | Issue | Philosophy Now
Abbott and Costello Meet Frankenstein is a American horror comedy film directed by Charles Barton and starring the comedy team of Abbott and Costello. The picture is the first of several films in which the comedy duo meets classic .. Abbott and Costello in Hollywood. New York: Perigee Books. ISBN 0. Explore Dave Lovering's board "Abbott & Costello meet Frankenstein" on Pinterest. | See more ideas about Horror films, Horror Movies and Scary movies. Abbott and Costello Meet Frankenstein (), a horror comedy that parodies a plethora of Universal monster films, was directed by Charles Burton, produced.
That system concerns itself as much and as legitimately with the effect of ideas as our checking system for the physical world concerns the origin of ideas in physical reality. Ideas presented in imagination are still judged by their associations with other ideas and effects upon those ideas.
If we are reluctant to dismiss a work of fiction as false, we certainly do not hesitate to call some fictions wrong or useless or ineffective, all of which are terms of correction. In later adaptations, Holmes becomes romantically involved with Irene Adler, also a fictional being. Obviously, the distress they feel has nothing to do with what is true or false in real life, but rather with what seems or feels fitting or right for the character that has been created in the original stories.
There is no phenomenological difference between God coming to me in a dream and my dreaming that God came to me, but in both cases we can argue the rights and wrongs of the claims made. Those who see the business of life as the search for truth will expend equal energy in studying the pure phenomena independent of alleged cause and effect, the scientifically discovered origins or explanation of the phenomena, and the socially significant consequences of the phenomena regardless of its genesis, and will understand that even if these three investigations leave us able to interpret the world, the point remains that of changing it.
Garcia is commendably specific regarding the ways the film changed him, including the dignity of the monsters; a fascination with the drive to reanimate, with movies and film making, with drawing the monster. He talks of the power of fear and of comedy as a smart strategy in life to get by, disarming the powerful.
There are things that are really weird and there are people who are concerned with them. That some way, that became important to me and I guess I thought to myself on some level: I think I want to be concerned with things that are weird, I think that seems interesting to me because that seems like fun … and that is in fact, who I am. To quote from that seminal film: Some people claim it is not dead even now, just dormant.
Now, who would be silly enough to believe that? The results of her effort would now fill an entire library and continue to grow. This article concerns some aspects of just one line in the vast genealogy of Frankenstein. Mary Shelley, Abbott and Costello, and Jerry Garcia worked on the Frankenstein story, drawing primarily on their imaginations. It was the richness, one might say genius, of their imaginations that earned them enduring fame.
Abbott and Costello Meet Frankenstein (Film) - TV Tropes
My intent in following this one ripple in the stream of consciousness is to eliminate the speculative altogether and focus instead entirely on the factual. I leave the reader free to decide for himself or herself whether the apparent healing and the alleged liberation provided by such imaginative rambling are indicative of anything worth pursuing in their own lives.
There are certainly plenty of paths to wander, in the byways of ideas, in film and in music too. Here's something to laugh at: At one point Chick and Wilbur slam a door in the face of Frankenstein's Monster and try barricading it. Alas, they forgot that it opened the other way and get a very nasty surprise.
Dracula, especially in his "Dr. Of Universal Horrorwhile at the same time remaining within the very loose canon of the ss series. Done by Walter Lantzof Woody Woodpecker fame. At one point while fleeing from the Monster, Wilbur pulls off a successful Tablecloth Yankwhich leads to him briefly grinning at the audience with a pleased "ta-daa! McDougal, who is bitten by the Wolf Man, but lives.
Abbott and Costello Meet Frankenstein (1948)
After spending the last three movies trying to find a permanent way to die, Larry Talbot has finally given up and decided that since he can't die or be cured, he'll spend his days hunting other monsters, hoping to balance out the murders he'll inevitably commit by taking out Dracula and his ilk. The Monster breaking through a door. When Wilbur finds the secret room with the Monster and Dracula in it, he doesn't notice anything at first because of this.
Wilbur cracking "wolf" jokes is this to Talbot. Larry's transformation occurs just in time to fight off Dracula. Almost every scene involving a monster had to be removed before the Australian film board would allow its release. The Monster breaks his operating table bonds in the climax.
Vincent Price voices the final line of the film: I'm The Invisible Man. Chairman of the Brawl: Chick attempts to hit Dracula with a chair in the climax, but hits Sandra instead.
Later Dracula picks up one when he is fighting Wolf Man. The scene where Costello is unknowingly sitting on the monster's lap had to be re-shot many times because Glenn Strange couldn't stop cracking up. Even in the finished version, you can see him starting to smile as he gets up to chase Costello. Outtakes showing Strange laughing have survived. The movie ends with the Invisible Man appearing. Our heroes are portrayed as skeletons in the animated opening sequence.
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The Monster throws Sandra through a window in the climax. Frankenstein's diary makes an appearance yet again. Sandra, Dracula and the Wolf Man. The Monster and Sandra are this to Dracula.
Larry Talbot's reaction to Chick putting on a Wolf Man mask at the costume ball. Exactly What It Says on the Tin: The story of this film is that a famous comedic duo encounters a lumbering reanimated monster.
If you have to ask which ones, you've not been paying attention. Both Wilbur and Chick faint when they see Dracula turning from a bat to man in front of their eyes. Glenn Strange suffered a leg injury during production likely one reason he spends a lot of time shown sitting or lying down in this film. For the scene in which the Monster throws Sandra out the window, Lon Chaney who had previously played the Monster in The Ghost of Frankenstein put on the make-up and the suit and did the shot in his place.
Did we mention this is Abbott and Costello? The Wolf Man does this in the climax. When Dracula joins the costume party where our protagonists have gone, he is dressed as a Classical Movie Vampire. A Slapstick Monster Mash.
When Wilbur and Chick search the basement, the door closes behind them. It may not have been intended this way, but this ended up being the final entry in the "main" Universal Horror series that had begun in with the original Dracula and Frankenstein films. Talbot gets one possibly unintentional when, as the Wolf Man, he leaps off the balcony to stop Dracula from getting away. Being Larry Talbot, he probably survived.
They even live in the same apartment together. Lou, of all people, does this to the Monster when they first meet. Dracula hypnotizes Sandra with his eyes to ensure her obedience. Then later bites her and drinks her blood to make absolutely sure. Sandra attempts it on Wilbur, but he's Too Dumb to Fool.
The Monster relentlessly pursues the heroes for much of the last act of the film. This film is actually the first - and one of the only - films to actually depict the Monster as embodying this trope, even though the concept of the Monster being an implacable man is one of its most enduring stereotypes.
Kill It with Fire: In the end when Frankenstein's Monster is occupied with throwing stuff at escaping Wilbur and Chick, Stevens sets the pier on fire with gasoline, thus burning the Monster. For all the monsters who show up, the movie is pretty lighthearted.