MadelineKahn Tagged Articles at Cinematical

Many funny women have graced the screen over the years, from Mabel Normand to Lucille Ball to Tina Fey, but one woman's impact was unlike any other -- Madeline Kahn's.

When Star Trek was looming and there was a loud undercurrent of chatter about the previous space-led films, my brain got punny and came up with "The Wrath of Madeline Kahn." At first, I explained away my attachment to the title as part of my love of word play. But soon, I realized it was more than that. Kahn's wrath is a lot of what made her such an indelible comedic figure in Hollywood, one that grabbed two Oscar nominations for her craft.

We always see wrath as this bubbling explosion of anger that hunts down victims near and far. But with Kahn, it was all caught within herself -- wrath (of anger and exuberance) trapped in a human-shaped globe, a sizzling plasma ball. She always seemed like a bomb waiting to explode, whether it be her careful composure in Young Frankenstein, or her desire to find a primitive man as she peels the layers away, or most appropriately, her discussion of anger as Mrs. White in Clue. "I hated her ... so ... much ... I-it-it ... flames ... flames ... on the side of my face ... breathing ... breathle ... heavy breaths ... heaving ..."

Asking me to choose my favorite scene from Young Frankenstein is like asking a parent to pick their favorite child -- it can't be done. Instead, I chose to share one of the many scenes that can reduce me to giggles in five seconds flat. When I first saw Mel Brooks' and Gene Wilder's masterpiece, I might have only been a kid with a limited knowledge of dirty jokes and references to classic Hollywood, but I was in love. Thanks to this classic, Wilder, Madeleine Kahn, Peter Boyle, and Marty Feldman have become some of my most lasting examples of comic genius.

It has been 35 years since Young Frankenstein first hit theaters, but I still can't think of a movie that makes me laugh louder and harder every time I see it.

Young Frankenstein Fun Facts (via IMDB)

• When the film was released, Aerosmith was hard at work on their album, Toys in the Attic, and when the band were suffering from writers block for the lyrics to a particular song, the group took a break and went to the movies to see Frankenstein. As the legend goes, Igor's "walk this way" gag was the basis (or phrase) for the hit song of the same name.
• Madeleine Kahn was originally slated to play the sexy lab assistant Inga, but at the last minute decided to play Wilder's fiancée, Elizabeth, instead.

Tomorrow brings Paul Rudd and Seann William Scott to the screen as Role Models. Energy drink and driving bandits, they crash the company truck, and get one of two choices as punishment -- sign up to mentor children, or go to the slammer. Of course, they choose mentoring, having no idea what they're really getting into.

It's always been an interesting idea -- make ne'er-do-wells change their ways by making them do good deeds and be role models. But sometimes it's not such a good idea. In the world of film, there are MANY characters who should never, ever be allowed to act as role models to impressionable youths. Menaces to children everywhere, they'd most likely do the exact opposite of what was intended. This list is, by no means, complete; but consider it a starting point. Read on, reminisce about these bad influences and then comment below about who you would include.

And be warned: These clips may include strong language, and all sorts of adult conduct.

I really, really love Young Frankenstein, as is obvious from my retro review here. It has always been my favorite Mel Brooks movie, and was one of the first DVDs I ever bought. The film began my love of everything Madeline Kahn; it was one of the few great movies in my youth that wasn't a retro Disney movie or '80s crapfest. It's just damned good. After all the success Brooks had with The Producers on-stage, one would think that the same success could be found with source material like Frankenstein, but unfortunately, that doesn't seem to be the case.

In their Studio Briefing news at IMDb, there's a collection of notes from theatrical reviewers on the Broadway production, and they aren't very positive. In fact, it's looking like this musical is tarnishing all the wonder of the original film. According to Ben Brantley, the production saps the original of its joy, and definitely isn't worth its exorbitant budget and pricey premier seating; Chris Jones called it a "colossal disappointment", while even the nicer reviews still say the magic, spark, and greatness is gone. That's really a shame. On the one hand, at least we'll probably be free of a movie that is based on a musical, which is based on a movie. But it's still sad. Have any of you seen it? Is it as much of a waste as the reviewers describe?

My grandfather was a very sick man. You are talking about the nonsensical ravings of a lunatic mind. Dead is dead. Hearts and kidneys are tinker toys! I'm talking about the central nervous system! I am a scientist, not a philosopher! There's more chance of reanimating this scalpel, then you have of mending a broken nervous system. My grandfather's work was doodoo! I am not interested in death! The only thing that concerns me is the preservation of life! Dr. Frederick Frankenstein

For years, Dr. Frederick Frankenstein (Gene Wilder) has tried to distance himself from the mad science of his grandfather, the original Dr. Frankenstein. He is so desperate not to be linked to it that he swears his name is pronounced "Frankensteen," not "Frankenstein." Yet he is still drawn to the science that his grandfather was enveloped in. The young Frankenstein is also a doctor, and he touts the importance of the central nervous system to fresh medical minds whilst damning the name of the first Dr. Frankenstein. But then he is presented with an ornate box, his grandfather's will, and given the key to understanding his relative's madness.

And this is the brilliance of Mel Brooks' stylish, black and white Young Frankenstein. Based on Mary Shelley's novel, and co-written with star Wilder, the comedy was part of a duo with Blazing Saddles that made 1974 a wonder year for the relatively new director -- one that garnered him five Oscar nominations between the two. The solid source material and stellar writing were only part of the film's success. It boasted one of the best comedic casts to ever hit the screen -- Wilder, Cloris Leachman, and Teri Garr, as well as some of the best faces of comedy who are no longer with us -- the purring and wonderful Madeline Kahn, the world's best monster, Peter Boyle, and the scene-stealing Marty Feldman.