ABBOTT AND COSTELLO MEET FRANKENSTEIN: Blu-ray (Universal International 1948) Universal Home Video
In the history of great
comedy teams few can hold a candle to Bud Abbott and Lou Costello; two of the
most prolific comedians the entertainment industry has ever seen. They began in
Vaudeville, made the seamless transition to radio, graduated to movies and then
went on to have their own week television comedy sketch series for years. Each
has three stars on the Hollywood ‘Walk of Fame’ – one each for their
contributions to film, radio and TV. But the teaming of Bud and Lou that, in
retrospect, seems like such a foregone conclusion was not immediately apparent
to either comedian at the start of their professional relationship. Afterward,
the association was anything but smooth. The boys feuded and bickered
constantly, but inevitably always came together for the sake of the act and
remained ‘friends’ until a row split their friendship for good in 1956.
But in 1948, things were
riding high for Bud and Lou. In fact, they were Universal’s biggest and most
consistent box office draw, eclipsing Deanna Durbin and the monster serials in
popularity. Throughout the forties, Universal saturated the market with A&C
movies. During the war the team was consistently ranked as the #1 box office
draw in America for four years. But with fame came increasing headaches and Bud
and Lou’s desire to not simply repeat themselves in like-minded and low budget
regurgitations of their stage work. Universal did attempt to honour the team
with solid scripts and ever more lavish production values.
Originally titled ‘The Brain of Frankenstein’, and often
described as ‘Transylvania burlesque’, by fans and critics alike, Charles
Barton’s Abbott and Costello Meet
Frankenstein (1948) was a movie that neither Abbott nor Costello wanted to
make. “Are you kidding?” Lou
reportedly told producer Robert Arthur after reading the script, “My daughter can write better crap than
this!”
Costello had a point. The
original draft submitted to A&C for consideration concerned Doctor Felt, a
venomous surgeon who has discovered the secrets of life and death by reading
Dr. Frankenstein’s original manuscripts. The good doctor unfortunately
misplaces the document while sailing home to America. Aboard ship are two
stewards played by Bud and Lou who inadvertently learn that salt, vinegar and
baked beans can revive Dracula, the wolf man and the Frankenstein monster.
Accidentally spilling this food on all of their bodies, the monsters are predictably
revived and wreak havoc on the boys until Dr. Frankenstein arrives with a
potion that shrinks the monsters to four inches in height. The film was to have
ended with A&C deciding to make a quick buck by displaying these pint size
nemeses as a freak show on Broadway.
Throughout the late 1930s
and early 40s Universal had been fuelled by Carl Lemmle Jr.’s absolute
fascination with tales of the macabre. But by 1945 virtually all of the truly
great monsters had been interminably mined of all potential to shock value. The
approaching atomic age would strike a final blow for the likes of Dracula, the
wolf man, the mummy and Frankenstein with their own particular fascination for
giant bugs and space age creatures and aliens. But Universal decided to take one
last stab at resurrecting these vintage scares.
A lot was riding on the
success of this film, especially after the studio was sold to William Goetz.
Primarily known as the son-in-law of L.B. Mayer, Goetz’s personal aesthetic
tastes helped to build one of the finest private art collections in the world.
Unfortunately, his desire to transform Universal into a prestige studio en par
with Metro-Goldwyn-Mayer had all but forced the company into receivership by
1948. At the start of production on A&C
Meet Frankenstein, Goetz told Barton, “Good
luck…and God bless you.”
Robert Lees, Fredric I.
Rinaldo and John Grant’s final script was a marked improvement over the
aforementioned draft. In it, Bud and Lou are Chick Young and Wilbur Gray, an
unprepossessing pair of baggage clerks working in a Florida railway station.
They receive a long distance call from Lawrence Talbot (Lon Chaney Jr.) who
forewarns that two crates scheduled for McDougal’s House of Horrors must not
reach their destination until he, Talbot, arrives in town. Unfortunately,
before Talbot can conclude his conversation with Wilbur he is transformed into
his alter ego, the wolf man, and proceeds to tear up his hotel room.
Wilbur is dating Doctor
Sandra Mornay (Lenore Aubert); a sultry vamp whose bizarre fascination with
Wilbur’s brain baffles Chick. In the meantime, the easily perturbed Mr.
McDougal (Frank Ferguson) arrives to collect his crates. He orders Bud and Lou
to deliver them to his wax museum that evening. Predictably, all does not go
according to plan. A perilous thunderstorm knocks out the power inside McDougal’s
House of Horrors, leaving Wilbur in the dark while Chick goes in search of the
electrical box.
Wilbur unearths the
contents of each crate; one containing Dracula (Bela Lugosi) in his coffin, the
other, housing the Frankenstein monster (Glenn Strange). After hypnotizing
Wilbur, Dracula revives the weakened monster and the two hide behind a curtain
inside the waxworks. McDougal arrives with his insurance adjuster and is
appalled to find both crates empty. He accuses Chick and Wilbur of theft and
promptly has them arrested.
But another insurance
adjuster, Joan Raymond (Jane Randolph) has a better idea. She bails the boys
out of jail and pursues a romantic attachment with Wilbur, convinced that he
will eventually lead her to the missing ‘exhibits’. Wilbur invites Joan to the
same masquerade ball he has agreed to go with Sandra. Talbot arrives in town
and orders Wilbur and Chick to lock him in his hotel room at night so that no
harm will come to them. Wilbur obeys, but then realizes that Talbot has left
his luggage in their room. By the time he has returned to Talbot’s suite the
man has once again morphed into a wolf. But Wilbur’s own stupidity and good
timing ensures his safety.
The next evening Chick,
Wilbur and Joan arrive at Sandra’s isolated island castle to collect her for
the masquerade. They are introduced to Dr. Stevens (Charles Bradstreet) and Dr.
Laos (nee Dracula in disguise) who assures them that they must make the most of
life while it lasts. Sandra takes Joan upstairs to freshen up, leaving Wilbur
and Chick to explore the castle. Wilbur finds a secret passage where Dracula
has hidden the monster and a chase ensues. But attempts to show Chick what he
has found repeatedly – and cleverly – fail. In the meantime, Sandra snoops
through Joan’s purse and learns her true identity. She alerts Dracula and
refuses to go through with their plan to transplant Wilbur’s brain into the
monster’s body.
Dracula hypnotizes and then
bites Sandra, thereby transforming her into his vampire bride. Joan, Chick and
Wilbur arrive at the masquerade first and are met by Talbot once more, and also
Mr. McDougal who attempts to bully Wilbur into divulging the whereabouts of his
exhibits. Previously determined to fake a headache to get out of attending the
masquerade, the boys are surprised when a more complacent Sandra arrives on the
arm of Dr. Laos, dressed as Dracula. Sandra encourages Wilbur to go for a
stroll with her in the woods while Dr. Laos takes Joan for a spin around the
dance floor.
Meanwhile Talbot is once
more transformed into a wolf. He accosts Mr. McDougal and nearly severs his
jugular. McDougal accuses Wilbur of attempted murder, forcing him to flee into
the wood with Chick close behind. Wilbur finds Joan under Dracula’s spell. He
is sedated by Dracula’s hypnotic stare and the two are taken back to Sandra’s
castle. Early the next day Chick alerts Talbot what has happened and the men
charter a boat to the island to rescue Wilbur and Joan. Talbot finds Wilbur
first, strapped to a gurney in preparation for the removal of his brain.
However, before Talbot can free Wilbur he is transformed into a wolf for the
third and last time. The wolf man and Dracula do battle and cause a short in
the circuitry in the lab as Chick arrives on the scene.
The monster frees himself
from his gurney but is briefly thwarted in his attack on Chick and Wilbur by Sandra
who attempts to subdue him with Dracula’s commands. The monster rebels,
however, and throws Sandra out the window. Chick and Wilbur race around the
castle, hiding in bedrooms and attempting to barricade themselves from the
monster’s terror, but to no avail.
They run out the front
door, pursued by the monster. Dracula
transforms himself into a bat but is captured by the wolf man, the two toppling
from a balcony into the raging waters below. Joan awakens from her hypnosis and
is rescued by Dr. Stevens who also sets fire to the pier where the monster is bidding
to sink Wilbur and Chick’s boat by tossing barrels of gasoline at it. The
monster is consumed in the flames and Wilbur and Chick are saved. Relieved,
Wilbur declares there is no one left to haunt them. A cigarette suddenly lights
from behind them however and a voice (actually that of Vincent Prince)
introduces himself to the boys as the invisible man.
Depending on one’s point of
view Abbott and Costello Meet
Frankenstein either provided Universal’s cavalcade of monsters one final
bow or made an utter mockery of their prowess to shock and terrorize an
audience. Both points of view were expressed in critiques of the film when it
had its premiere. But most who saw it, absolutely loved it and for good reason.
Lou Costello’s ability to make ‘fear’ funny had been well mined in two previous
A&C comedies, 1941’s Hold That Ghost
and 1942’s Who Done It?
Viewing the film today, it
is a miracle that Lou Costello made it. Before shooting, Lou was stricken with
a particularly virulent bout of rheumatic fever that forced him to take an
entire year off. He nearly died. Upon his return, first to radio, Lou suffered
an even more tragic loss when he was informed that his only son, Lou Jr. had
drowned in their backyard pool. The child was not even a year old. Ever the
trooper, Lou dove into his work, even dedicating his radio program to his late
son and later, establishing a trust fund in his memory.
Meanwhile, Bud Abbott’s
epilepsy was gradually worsening. Throughout the shooting schedule Bud knocked
off after five p.m. each day over concerns about his condition. He suffered
several heartbreaking attacks on the set, each time brought out of his
uncontrollable thrashing by Lou punching him in the stomach.
Miraculously, none of this
backstage tragedy manifested itself in the film. In fact, Bud and Lou are in
rare form. There is a vitality to their sparring, a joyfulness to the excursion
as a whole as the boys run like hell from their worst nightmares, only to be
repeatedly thrust in their midst with riotous results. A few interesting side
notes to consider: first, Lenore Aubert almost didn’t make it into this film.
She had begun as a ‘Goldwyn girl’. But her career was nearly ruined after she
refused to become Sam Goldwyn’s mistress.
Bela Lugosi had only played
Dracula once before co-starring in this movie and was in desperate need of
cash. He was not the first actor considered for the role, primarily because in
the intervening years Dracula had been played by several other actors in the
Dracula sequels. Eventually, he won the
part by default. Boris Karloff had been asked to reprise his role as the
Frankenstein monster but staunchly refused, saying that “Abbott and Costello ruined horror movies,” leaving Lon Chaney Jr. as
the only actor to consistently play the wolf man through three movie sequels,
as well as Abbott and Costello Meet
Frankenstein. Chaney, son of ‘the man of a thousand faces’ was suffering
from his own alcoholism and inner demons, reportedly brought on by a lifetime
of abuse from his father. Finally, Jane Randolph – who had made a mark for
herself in two Val Lewton horror classics, Cat
People (1942), and Curse of the Cat
People (1944), retired from movies after finishing Abbott and Costello Meet Frankenstein, content to marry well and
live a life of privilege apart from Hollywood.
Viewed today, Abbott and Costello Meet Frankenstein
is one of the enduring masterpieces in Bud and Lou’s canon of classic comedies.
Arguably, it is their best work, certainly the one film for which the team are
most readily identified and appreciated by their fans. In 1956, after an
absolutely crippling financial debacle with the IRS, Abbott and Costello dissolved
their partnership for good and on a decidedly sour note. When Lou died just
three years later, Bud openly wept, saying that he never knew his old partner
was so sick.
Today, Abbott and Costello
are as popular as ever. Their films endure not so much for their overwhelming
production values, their stellar plots or even their regurgitation of perennially
amusing Vaudeville routines ever so slightly refreshed for the movies, but
because the boys are obviously having a very good time with one another.
Despite their professional and private disagreements, Bud Abbott and Lou
Costello were never far removed in their mutual admiration and respect for what
each brought to their teaming. While critics have often adored them for their
perfect comedic timing, audiences continue to love them simply because they
are.
Universal Home Video’s
Blu-ray is a marked improvement over their previous DVD incarnations. The 1080p
B&W image takes a considerable leap forward in extolling all of the gothic
charm in Charles Van Enger’s cinematography. Contrast is bang on, with blacks
appearing darker and whites much more crisp. The image is quite clean too,
although it doesn’t appear to have suffered from undue DNR. Grain is present,
if slightly tempered, and age related marks and scratches are infrequent.
Overall, this is a very impressive transfer that will surely not disappoint.
The audio remains mono but
improves in its crispness. Dialogue sounds more refined. The memorable Frank
Skinner score sounds better too. Extras are confined to those that were
included on Universal’s DVD. Thankfully, these include some good production
notes and an absolutely marvellous audio commentary by historian and author
Greg Mank whom I could listen to all day.
Great stuff and highly recommended.
FILM
RATING (out of 5 – 5 being the best)
4
VIDEO/AUDIO
4
EXTRAS
2.5
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