I honestly can’t think of a better film where the opposite spectrum of film come together so seamlessly, it’s absolutely flawless. Abbott and Costello were always that comedy pairing that could walk in to any situation and find themselves in peril, but teaming them with Universal monsters is a gamble. It’s one that thankfully pays off in to one of the funniest horror comedies of all time. While I tend to like “Hold that Ghost” a little more, “Meet Frankenstein” is spectacular just the same.
It’s tough to imagine a better horror comedy for fans of golden age horror. Director Mel Brooks concocts a formula that’s almost impossible to duplicate, playing brilliant comedy with deadpan dramatic sincerity, and implements a wide cast of amazing comedy actors to perform what is a demented twist on “Mary Shelly’s Frankenstein.” One of my favorite memories about “Young Frankenstein” was when I was a kid and my mom brought home the VHS to watch for the night. For all intents and purposes, the movie looked like a horror film, and I went in to it convinced of the idea. Mid-way I was laughing so hard, it was impossible to hear the dialogue.
Mel Brooks’ horror comedy classic completely and utterly challenged any and all norms and perceptions of formula comedy that I had when I was a kid. It was a black and white movie that was a comedy and though the film bordered on absolutely insane in the comedy meter, the cast in the film played everything with a straight face. Particularly Gene Wilder whose entire performance is deadpan and dramatic in spite of the fact he’s probably the funniest character in the film.
I liken “Frankenhooker” very much to the classic “Re-Animator.” That is if “Re-Animator” were conceived by a mentally deranged chimpanzee. Even as a dark horror comedy “Frankenhooker” is a film that has to be taken with a grain of salt. It’s so monumentally moronic and ridiculous that I couldn’t believe what I was seeing most of the time. Of course going in to a film named “Frankenhooker” you’re not going to get high art, but Frank Henenlotter takes viewer expectations and drags it in to the mud with a shit eating grin. “Frankenhooker” is yet another take on “Frankenstein” with a bit of a Lovecraft twist that really is never as creative as it thinks it is.
Vincenzo Natali’s “Splice” was one of my favorites of 2010. It’s a surefire Frankenstein tale about two scientists on the precipice of creating not only a brand new species but a brand new gender. When they venture in to the depths of their scientific realm and work outside the confines of their regulated laboratory, they soon discover that they’ve created the ultimate being. Named Dren, she is a pure unadulterated force of nature, both of the emotional and the sexual. What begins as a science experiment gone awry soon turns in to a clear cut case of God Complex coming in to fruition as characters Clive and Elsa (ignore that clunky reference, and you’ll be fine) attempt to create a life, still stifled by their ability to do so in a relationship filled with ambition and mutual respect, but little to no intimacy.
Vincenzo Natali’s science fiction Frankenstein tale of 2010 may and will eventually be misunderstood by a greater portion of the movie audiences expecting a simple monster flick about an experiment gone awry. While in essence it is just that, “Splice” is much more an on the nose satire of parenting and the intervening of the drug industry raising children, and the dynamic between father and daughter and mother and daughter. Ultimately while sometimes absurd and just filled with dark twisted humor, “Splice” offers the question if children are born and develop in to chaotic monsters, or if their parents and their own insecurities and misery eventually turn them in to such beings. What starts out as two scientists forming a bond with their own special creation turns in to a battle between two feminine species for the love of a man who begins to form unusual and abstract feelings for the both of them.
The folks at Sinema Saliba manage to concoct an interesting indie experimental anthology film around the theme of Frankenstein and rebirth with a series of short films that dabble in narratives revolving around mortality and death all of whom vary in tones of artistic to the utterly absurd. Director Matthew Saliba pulls out all the stops for this anthology picture that deconstructs the tale of Frankenstein and sets the framework down in assorted set pieces and flavors that help this movie feel like a varied buffet of vignettes that will manage to perfectly entice the viewer’s imagination and rethink the concept of the mad doctor and the monster.