Introduction
The Industrial Revolution brought about a great time of change. Advances in technology and machinery touched off new scientific debate while Charles Darwin’s Theory of Evolution further questioned the veracity of the Bible itself. The increasingly literate public was becoming more involved in these debates being waged, particularly as newspapers and other periodicals became more available thanks to the introduction of the printing press. These new media proved essential in introducing and maintaining widespread discourse in the political and social issues of the day, not just in the form of non-fiction news articles, but also in the form of fiction novels.
One of the debates of the day was the question of the proper role of the scientist in the contemporary age, addressed in the novel Frankenstein written by Mary Shelley. Within the film Young Frankenstein, Mel Brooks attempts to demonstrate through humor the same types of danger of technological advancements upon society that Mary Shelley was attempting to illustrate in her novel, Frankenstein, a more serious approach to the subject
The main ideas in the book and film
One of the main themes within the book is a questioning of what it means to be human, an idea that is also addressed in the film. We see in the departure scene between Frankenstein and Elizabeth at the train station how the modern world has reduced something even as natural as human touch and emotion to a mechanized, untouchable element. Despite the length of the journey about to be taken by Frankenstein, Elizabeth won’t permit him to kiss her (it’ll mess up her lipstick), hug her (it’ll wrinkle her ‘taffeta’ dress), disturb her hair by pressing a kiss to her head or even hold her hand as it might damage her polished nails. Finally, they end up saying good-bye with a simple touch of the elbows.
In contrast, the more natural character of Inga is first seen offering a ‘roll in the hay’ as Frederick climbs into the back of a hay wagon he will be riding home. She touches him often not only here, when she curls into him for protection against the lightning and the wolves, but throughout the rest of the film, demonstrating instances of intelligent thought as well as natural carnal desire. This contrast between the two women forces attention and an obvious preference for the more natural rather than the technological.
Inspector Kemp is another example of a technologically influenced character. With a false arm and a rather ridiculous approach to his profession, Kemp illustrates the failure of technology to adequately replace humanity. To use this bendable arm, Kemp must constantly use his other hand to move it about, with a creaking sound as it ratchets into place. Another means he has of moving this arm is through exaggerated kinetic energy as he swings his shoulder around his body. Although Kemp apparently wears this false arm as a means of appearing ‘normal’, he has also developed a habit of using his arm as a tool to help him light cigars or hold darts. He is a ridiculous man illustrating the ridiculousness of attempting to blend natural humanity with the technological advancements of science.
The idea of nature’s effect on humanity is also addressed in both the book and the film. In Young Frankenstein, Brooks attempts to illustrate this idea as nature reflects human behavior, highlighting the irremovable connection between the two. This is reflected in the obscuring fog as Frankenstein arrives at his grandfather’s castle unsure of what he might find and in the habit of the weather to flash lightning and sound thunder at opportune moments in the film, such as when Frederick and Igor are digging up the body and Igor mentions it could be worse, it could be raining. Every time Frau Blucher’s name is mentioned, the pair of horses in the stables rear up and whinny in fright.
The question of nature versus nurture is another important theme shared between the novel and the film. Brooks brings attention to this theme by focusing on the monster’s underlying personality when he is not behaving as society would expect him to. When he wakes up and Frederick is standing over him shouting about him being alive, the monster looks slightly frightened, particularly when he’s told to stand on his feet.
Like a child, he’s pleased to be doing well with his walking ability and is easily frightened into dangerous behavior at the spark of controlled fire, a symbol of the earliest technology. He is quickly frightened by nature as he leaves the castle, but is still gentle and caring with the little girl he meets. Despite this, the monster only seems to bring about monstrous results until he is given a piece of Frederick’s humanity through electric transfer.
Conclusion
Throughout the film Young Frankenstein, Mel Brooks continuously attempts to use humor to bring his audience’s focus upon the various major themes inherent in the original story. He also provides the story with his own bias, clearly demonstrating how he prefers the concept of nature over technology. While he is successful in bringing attention to these issues over others, the audience has a general tendency to simply treat the film as a comedy without giving greater thought to the more serious questions involved.
Works Cited
Young Frankenstein. Dir. Mel Brooks. Perf. Gene Wilder, Peter Boyle, Teri Garr, Marty Feldman and Madeline Kahn. Twentieth Century Fox, 1974.