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20th century fox

15 Things You Might Not Know About Young Frankenstein

20th century fox
20th century fox

1. Studio Executives tried Tricking Director Mel Brooks into Shooting the Film in Color

By the mid-‘70s, black and white cinema was an endangered species. Nevertheless, Brooks felt strongly about replicating the feel of Universal’s classic Frankenstein films by going colorless. However, not everybody shared his vision. Columbia Studios’ brass thought the style was unmarketable and, as Brooks explains in this delightful interview (skip to 47:40), used some slippery tactics in an attempt to get their way:

“They said ‘Okay, we’ll make it in black and white, but on color stock so that we can show it in Peru, which just got color. And I said ‘No. No because you’ll screw me. You will say this and then, in order to save the company, you will risk a lawsuit and you will print everything in color. It’s gotta be on… black & white thick film.”

Thankfully, Brooks prevailed, though 20th Century Fox wound up taking charge of the project.

2. Star and Co-Writer Gene Wilder Convinced Brooks to Forgo his Usual Cameo Appearance

Like Alfred Hitchcock, Brooks usually gave himself a part in his own films, from Blazing Saddles’ loopy governor to the wine-selling Rabbi of Robin Hood: Men in Tights. These characters regularly broke the fourth wall and “winked” at the audience, something Wilder felt would clash with Young Frankenstein’s tone. So, as a condition of his taking on the lead role, Wilder made Brooks agree to remain off-camera.

However, the director did provide some howling:

As Frederick Frankenstein (Wilder) takes his first ride to the family castle, the distant wolf cry which startles him is a sound Brooks actually vocalized himself.

3. Early On, We Hear the Exact Same Conversation Repeated in Both English and German

En route to Romania, our protagonist catches a train to New York, whereupon he hears an American couple bickering. In the very next scene, Frederick (now on a Transylvania-bound locomotive) witnesses a European pair having an identical, word-for-word exchange in German

4. One of Igor’s Best Moments Inspired a Hit Aerosmith Song

“Walk this way!” Marty Feldman’s Igor instructs his master, who proceeds to copy the hunchback’s shuffling gait. Aerosmith frontman Steven Tyler found this line hilarious and repurposed it as the title of a track about high school lovers.

5. Hans Delbrück Was a Real Person

As Frederick readies his monster, he sends Igor to fetch a very special brain which rests in a jar labeled “Hans Delbruck: Scientist and Saint”. The actual Hans Delbrück (1848-1929) was an accomplished military historian whose son, Max, won a Nobel Prize for his work with viruses.

6. Several Props Had Previously Appeared in the Masterful 1931 Frankenstein Film

Taking his feature-length tribute to the next level, Brooks included much of the faux lab equipment used in that earlier picture.

7. Teri Garr Based Her Character’s Voice on Cher’s Hairdresser

Garr made several appearances on The Sonny and Cher Comedy Hour and used Cher's German wig-stylist as a model for ditzy lab assistant Inga’s heavy accent.

8. Brooks Hired Kenneth Mars After the Actor Signed Off on an Odd Costuming Choice

The two had already collaborated in 1968’s The Producers, and while casting Young Frankenstein, Brooks offered Mars the role of grumpy Inspector Kemp, but not before pitching an eccentric wardrobe gimmick that ultimately wound up on-screen.

“He [said],” Mars later reminisced, “‘Let me ask you this… if you’re wearing an eye patch and you’ve got a monocle on top of the eye patch, is that too much?’ I said ‘Of course not.’ He said ‘Good, you’re hired!’”

9. Gene Hackman Specifically Asked Wilder for a Part in Young Frankenstein Because he “Wanted to Try Comedy”

According to the movie’s Blu-Ray commentary, Hackman—who’d been thrice nominated for an Academy Award (and won one in 1971)—learned about Young Frankenstein through his frequent tennis partner Wilder and requested a role. Ultimately, ‘Harold’—the lonely blind character he briefly portrayed—sparked one of the most memorable sequences in comedic history.

10. Peter Boyle Had to Wear a Special Pad Over His Crotch to Avoid Getting Scalded During the Famous Blind Man Scene

During their hysterical encounter, sightless Harold winds up accidentally dumping a bowlful of hot soup onto the poor creature’s lap. Fortunately, Boyle’s protective gear kept him from having to method act his way through the ordeal.

11. A Huge Percentage of the Movie Had to Be Deleted

“For every joke that worked, there were three that fell flat,” says Brooks, who whittled Young Frankenstein down to its current runtime after observing several mixed reactions from test audiences. This cut material included a clip in which Frederick’s relatives listen to a recorded will left by his great grandfather Beauvort von Frankenstein whose message starts skipping and nonchalantly repeats the phrase “Up Yours!”

In addition, the “Puttin’ on the Ritz” number was nearly axed as well. Brooks reportedly felt that having Dr. Frankenstein and his monster tap dance to an old Irving Berlin song seemed “too crazy.” Hearing this, Wilder—who though it brilliant—snapped and came “close to rage and tears” before Brooks unexpectedly changed his tune. “I wanted to see how hard you'd fight for it,” said the director, “And I knew if you fought hard enough, it was right...You did, so it's in.”

12. Wilder was Constantly Cracking Up During Takes

According to Cloris Leachman, “He killed every take [with his laughter] and nothing was done about it!” Shots would frequently have to be repeated as many as fifteen times before Wilder could finally summon a straight face.

But, to be fair, he certainly wasn’t the only one who couldn't always keep it together.

Young Frankenstein sees Marty Feldman’s comic genius on full display, which was often more than his castmates could handle. For example, the scene where Frederick’s fiancée Elizabeth (Madeline Kahn) greets him at the castle generated a lengthy gag reel because Feldman—whose character starts ravenously gnawing on her mink scarf—kept everyone in stitches with his manic over-acting.

13. Brooks’ Blazing Saddles and Young Frankenstein were the 1st and 3rd highest-grossing films of 1974, respectively

“It’s good to be the king!” Before this pivotal year, the funnyman’s earlier efforts—The Producers and The Twelve Chairs (1970)—netted mixed reviews and had lackluster box office performances. But after turning out these back-to-back hits at breakneck speed, Brooks’ reputation as one of Hollywood’s greatest comedic directors was secured.

14. Leachman Was Asked to Reprise Her Role for the 'Young Frankenstein' Musical

After getting eliminated from ABC’s Dancing with the Stars, Brooks offered the 82-year-old actress a chance to take a second stab at playing Frau Blücher for his on-stage Young Frankenstein musical, but the show’s run ended before her schedule freed up.

15. Throughout the Shoot, Brooks Offered Wilder Directing Advice

Knowing his star dreamed of one day sitting in the director’s chair, Brooks made a point to give him as many pointers as possible before shooting concluded. Wilder reminisced, “Mel would say, ‘Do you know the trouble I’m in because I didn’t shoot that close-up? Don’t do that.’ I would say, ‘To whom are you talking?’ ‘You, when you’re directing.’”

Though both headed various productions after Young Frankenstein, they’d never collaborate on another flick. Nevertheless, the pair’s shared legacy is unimpeachable. All three of Brooks’ movies in which Wilder appeared—The Producers, Blazing Saddles, and Young Frankenstein—have been selected for preservation by the National Film Registry and included on the American Film Institute’s “100 Funniest Movies of All Time” list.

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7 Things You Might Not Know About Audrey Hepburn
Hulton Archive, Getty Images
Hulton Archive, Getty Images

Though she’ll always be known as the little-black-dress-wearing big-screen incarnation of Holly Golightly from Breakfast at Tiffany’s, there’s probably a lot you don’t know about Audrey Hepburn, who passed away in Switzerland on January 20, 1993.

1. HER FIRST ROLE WAS IN AN EDUCATIONAL FILM.

Though 1948’s Dutch in Seven Lessons is classified as a “documentary” on IMDb, it’s really more of an educational travel film, in which Hepburn appears as an airline attendant. If you don’t speak Dutch, it might not make a whole lot of sense to you, but you can watch it above anyway.

2. GREGORY PECK WAS AFRAID SHE’D MAKE HIM LOOK LIKE A JERK.

Hepburn was an unknown actress when she was handed the starring role of Princess Ann opposite Gregory Peck in 1953’s Roman Holiday. As such, Peck was going to be the only star listed, with Hepburn relegated to a smaller font and an “introducing” credit. But Peck insisted, “You've got to change that because she'll be a big star and I'll look like a big jerk.” Hepburn ended up winning her first and only Oscar for the role (Peck wasn’t even nominated).

3. SHE’S AN EGOT.

In 1954, the same year she won the Oscar for Roman Holiday, Hepburn accepted a Tony Award for her title role in Ondine on Broadway. Hepburn is one of only 12 EGOTs, meaning that she has won all of the four major creative awards: an Emmy, Grammy, Oscar, and Tony. Unfortunately, the honor came to Hepburn posthumously; her 1994 Grammy for the children’s album Audrey Hepburn’s Enchanted Tales and her 1993 Emmy for Gardens of the World with Audrey Hepburn were both awarded following her passing in early 1993.

4. TRUMAN CAPOTE HATED HER AS HOLLY GOLIGHTLY.

Blake Edwards’s Breakfast at Tiffany’s may be one of the most iconic films in Hollywood history, but it’s a miracle that the film ever got made at all. Particularly if you listened to Truman Capote, who wrote the novella upon which it was based, and saw only one actress in the lead: Marilyn Monroe. When asked what he thought was wrong with the film, which downplayed the more tawdry aspects of the fact that Ms. Golightly makes her living as a call girl (Hepburn had told the producers, “I can’t play a hooker”), Capote replied, “Oh, God, just everything. It was the most miscast film I’ve ever seen. It made me want to throw up.”

5. HOLLY GOLIGHTLY’S LITTLE BLACK DRESS SOLD FOR NEARLY $1 MILLION.

Audrey Hepburn in 'Breakfast at Tiffany's'
Keystone Features, Getty Images

In 2006, Christie’s auctioned off the iconic Givenchy-designed little black dress that Hepburn wore in Breakfast at Tiffany’s for a whopping $923,187 (pre-auction numbers estimated that it would go for between $98,800 and $138,320). It was a record-setting amount at the time, until Marilyn Monroe’s white “subway dress” from The Seven Year Itch sold for $5.6 million in 2006.

6. SHE SANG “HAPPY BIRTHDAY” TO JFK IN 1963.

One year after Marilyn Monroe’s sultry birthday serenade to John F. Kennedy in 1962, Hepburn paid a musical tribute to the President at a private party in 1963, on what would be his final birthday.

7. THERE’S A RARE TULIP NAMED AFTER HER.

Photo of Audrey Hepburn
Hulton Archive, Getty Images

In 1990, a rare white tulip hybrid was named after the actress and humanitarian, and dedicated to her at her family’s former estate in Holland.

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Why the Film You're Watching on HBO Might Not Be the Whole Movie
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iStock

In the days before widescreen televisions, most of the movies you watched on VHS or on cable looked a little different than their big-screen versions. The sides of the image had to be cropped out so that you could watch a movie made for a rectangular screen on the small screen. Today, those little black bars on the top and bottom of the screen that allow you to watch the same movie scaled to any shape of screen are everywhere. But it turns out, cropping for aspect ratios is alive and well—on HBO, as YouTube film vlogger Patrick Willems explains.

In his latest video, which we spotted on Digg, Willems explains why aspect ratios matter, and how the commonly used aspect ratios can fundamentally change a movie.

Most old-school televisions have 4:3 aspect ratios, meaning movies had to be significantly cropped to fit wide-screen films on the small screen. Now, most computers and televisions use 16:9 aspect ratios, which is approximately the same as the one used for movies, typically 1.85:1, so many movies expand to fit TV screens perfectly. The catch: Some Hollywood movies are shot with even wider angles to show even more of an image at once. And even though viewers are familiar with the sight of those black bars, it seems the streaming sites are determined to limit their use, even for movies that don’t fit on a normal screen. As a result, you may only be seeing the central part of the image, not the whole thing. You could be missing characters, action, and landscape that’s happening on the far sides of the screen.

Since 1993, the Motion Picture Association of America has mandated that any film that’s been altered in a way that changes the original vision of its creators—say, to edit out swear words, adjust the run time, or to make it fit a certain screen—run with a disclaimer that says as much. That’s why before movies run on TV, they usually show a note that says something like “This film has been modified from its original version. It has been formatted to fit this screen.” But this doesn’t seem to apply to streaming.

In 2013, Netflix was accused of cropping films, too, showing wide-angle movies to fit the standard 16:9 screen instead of running the original version with black bars. The streaming giant claimed it was a mistake due to distributors sending them the cropped version, and those films would be replaced with the originals. However, as of 2015, users were still complaining of the problem. According to Willems, it’s a problem that still plagues not just HBO, but Starz and Hulu, too, and there isn’t any clear rationale for it other than that perhaps people don’t like looking at black bars. But frankly, that seems better than seeing a version of a film that the director never intended.

You can get all the details in the video below:

[h/t Digg]

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