Abbott & Costello Meet Frankenstein | Issue | Philosophy Now
Abbott and Costello Meet Frankenstein Movie Review Summary. Actors: Bud Abbott, Lou Costello, Lon Chaney Jr., Bela Lugosi Abbott and Costello Meet the Mummy starring Bud Abbott, Lou Costello, Marie Windsor, Michael Ansara. Abbott and Costello Meet Frankenstein (), a horror comedy that parodies a plethora of Universal monster films, was directed by Charles Burton, produced. Dracula (Bela Lugosi) wants to put porter's (Lou Costello) brain in monster's body .
Chick pours derision on what Wilbur thinks he has just experienced namely, seeing the Frankenstein monster, Dracula, and the Wolfman moving around. That frozen-speechless state is presented in the film as unquestionably real, or at least real enough for the movie audience to have an empathic reaction. That audience reaction is just as real even for those who keep reminding themselves that what they are watching is only a movie.
Abbott and Costello Meet Frankenstein - Wikipedia
The deeper truth here is that a fiction believed can be efficacious, even more efficacious than fact, depending on the character and skills of those who believe or disbelieve. Given the box office success of the film, which revitalized their careers, they most certainly did.
Jerry Garcia began an interview by making the point at some length that he was first taken to the Abbott and Costello film by his mother at age eight with no idea of what he was getting into and was scared by what he saw. He mentions the various postures of physical fear. What are we to make of the real power of a fiction?
Memo to my fellow philosophers: My hope rather is to expand our awareness to include other goings-on, conscious and unconscious, using art to recognize, categorize, alter and illuminate what is in fact happening whether we acknowledge it or not. But how can philosophers work with anything as notoriously changeable and insubstantial as the contents of imagination?
How is anything checkable or comparable or verifiable or falsifiable? Even or especially if the backbone of argumentation is lucid and irresistibly valid, the flesh clinging to the bone and the garments draped over the flesh are mutable if not ephemeral, and the whole scene can be manipulated, redecorated, filtered, seen through a lens, or under the influence of substances, controlled or uncontrolled.
But, in reality, as the things are not there which appear to be seen, this only proves that a certain degree of activity may exist in the soul when all the senses are, as nearly as possible, in a state resembling death.
Without the corrections from the senses, the soul, however, would appear to have no power of forming correct ideas of external nature.
The seeing in sleep is an illusion produced by the vast increase of the imagination, aided by memory.
Abbott and Costello Meet Frankenstein (1948)
Piper Brothers,p. Prater is of course right that without a public system of correction we have no way of determining if our ideas are correct. What Prater and so many others have missed is that the whole realm of imagination, while distinct from physical reality, has a correction system of its own.
- Oh no, there's been an error
That system concerns itself as much and as legitimately with the effect of ideas as our checking system for the physical world concerns the origin of ideas in physical reality. Ideas presented in imagination are still judged by their associations with other ideas and effects upon those ideas.
If we are reluctant to dismiss a work of fiction as false, we certainly do not hesitate to call some fictions wrong or useless or ineffective, all of which are terms of correction.
Being a vampire, he is also given the powers to control those around him. This can be seen in the beginning of the movie as he escapes from the railway station after he hypnotizes Wilbur and as he bites Sandra as a way to force her to continue her work with their scheme. Dracula takes on a mad scientist role, like the one given to Frankenstein in the Hammer Studios Series. Both Frankenstein and Dracula show no remorse for their actions and thrive on the concept of using others to get to their own personal destinations.
Like Frankenstein, Count Dracula's vampire powers allow him to manipulate the characters around him as pawns through his endeavor of completing his experiment. The film was given this honor by being recognized as "culturally, historically, or aesthetically significant". Abbott and Costello Meet Frankenstein also received a warm reception from Readers Digest as it was named one of the top funniest films of all time Wikipedia. Significance Abbott and Costello Meet Frankenstein has become culturally significant because of what it accomplishes.
Detailed Review Summary of Abbott and Costello Meet Frankenstein
Universal Studios parodies itself by poking fun at the long list of monster movies it has distributed: FrankensteinThe Wolf ManDracula to name a few. The original horror films produced by Universal gathered a following based on a love for the combination of monstrosity and fear. This film takes these two concepts and offers a completely new perspective.
The comedy causes the audience to rethink the collective fear of monstrosity and asks for a different response: This laughter can be found in the actor casting itself as each monster is played by the same actor as the original Universal films. With this decision, Universal is playing with the understanding that the audience has most likely already seen these actors in their plethora of monster films, and it asks the audience to see the cast like never before, in a lighter, comically entertaining format accompanying the famous comedy duo: The casting of Bud Abbott and Lou Costello is another reason for laughs as their interactions with one another lighten the typical fear in movies of being in the presence of three notorious monsters.
The constant comedic mood created by Abbott and Costello as well as the basic concept of the film to parody monster movies led to a development of films following the same lead, like Young Frankenstein Together, these films embrace the comedy in absurdity and monstrosity.
Abbott and Costello Meet Frankenstein Movie Review Summary
Abbott and Costello Meet Frankenstein left behind a legacy by forcing audiences to come face to face with their fears to laugh at them. The film requires the audience to question the rationale behind the fear of monstrosity, as it is put alongside Abbott and Costello and manipulated in ways that make it more hysterically entertaining than it ever was scary.
References Abbott and Costello Meet Frankenstein.