FILM · 1974 · USA
Young Frankenstein
- Directed by
- Mel Brooks
- Runtime
- 106 min
- Studio
- Crossbow Productions, Gruskoff/Venture Films, Jouer Limited
255 archived facts 7 topics 1 source Last reviewed Nov 2026
A young neurosurgeon inherits the castle of his grandfather, the famous Dr. Victor von Frankenstein. In the castle he finds a funny hunchback, a pretty lab assistant and the elderly housekeeper. Young Frankenstein believes that the work of his grandfather was delusional, but when he discovers the book where the mad doctor described his reanimation experiment, he suddenly changes his mind.
255 Interesting Facts About Young Frankenstein
Interesting Facts (19)
- #001
While preparing Young Frankenstein, Mel Brooks discovered that Ken Strickfaden, who had built the elaborate electrical machines for the laboratory scenes in Frankenstein (1931) and its sequels, was still alive and living in the Los Angeles area. Brooks visited Strickfaden and saw that he had stored all the equipment in his garage. Brooks made a deal to rent the equipment and gave Strickfaden the screen credit he had never received on the original films.
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Gene Wilder and Mel Brooks argued only once during the production, but it was a big fight: Brooks threw a huge tantrum, shouting and raging, and finally stormed out of Wilder's house, where the men had been working on the script. About ten minutes later Wilder's phone rang, and Brooks said: "WHO IS THAT CRAZY MAN IN YOUR HOUSE? I CAN HEAR HIM SCREAMING FROM HERE. YOU SHOULD NEVER LET CRAZY PEOPLE INTO YOUR HOUSE, DON'T YOU KNOW THAT? THEY CAN BE DANGEROUS." That, as Wilder later put it, was "Mel's way of apologizing."
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The film's original cut was nearly twice as long as the final version, and everyone involved considered it a terrible failure. Only after a long editing session did Gene Wilder and Mel Brooks arrive at the final cut, which they both thought far superior to the original product. At one point they realized that for every joke that worked, three failed, so they went in and cut all the jokes that did not work.
- #009
According to Mel Brooks, the studio tried to trick him into shooting the film in color. "They said, 'Okay, we'll do it in black and white, but we'll do it on color stock so we can show it in Peru,' and it would be newly colorized, and I said, 'No. No, because you'll screw me.' You'll say that and then, to save the company, you'll risk a lawsuit and print everything in color. It has to stay on black-and-white film."
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The candles the actors carried while exploring the castle at night were made from aluminum tubing with 100-watt projection bulbs hidden inside. A wire ran up each actor's arm and down to his trouser leg, so in addition to remembering their lines, they had to keep the wires and bulb out of sight.
- #019
Mel Brooks shot the film specifically the way James Whale shot Frankenstein (1931) and Bride of Frankenstein (1935). He used numerous wide shots, almost no zooming, and chose to move the camera only with minimal effect. Brooks also used techniques of the German expressionist directors Fritz Lang and F. W. Murnau.
Production Story (92)
- #020
Mel Brooks said that when he learned Columbia Pictures wanted the film shot entirely in black and white, the studio objected so strongly that the next day he took the project to 20th Century Fox, where the far more accommodating Alan Ladd Jr., who had no problem with the idea, took it over. Producer Michael Gruskoff, however, says the move to Fox happened because Columbia did not want to raise the budget from $1.75 million to $2.8 million.
- #021
Mel Brooks learned that Ken Strickfaden, who built the special electrical machines for the laboratory scenes in Frankenstein (1931) and its sequels, was still alive and living in Los Angeles. Brooks visited Strickfaden and saw that he kept all the equipment in his garage. He arranged to rent the equipment and gave Strickfaden the on-screen credit he had never received on the original films.
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Cinematographer Gerald Hirschfeld had a career dating back to the 1940s, but this was his first project with Mel Brooks. When Brooks immediately began teasing the 'mistakes' in Hirschfeld's past work, Hirschfeld was taken aback. At first he took it seriously and was hurt, then he realized Brooks was joking and gave as good as he got; the two laughed and hit it off.
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It has been said for years that the scene in which Frederick accidentally stabs himself with a scalpel was not in the script and that Gene Wilder really did it by accident and kept going with the scene. This is not true; in fact, a square patch can be seen under Wilder's trouser leg where the scalpel was meant to go in.
- #032
In the 'Puttin' On The Ritz' scene, Igor is briefly seen playing the piano on the right side of the stage. Also, when the camera returns to Dr. Frankenstein lying unconscious on the stage after the creature jumps into the audience, the man trying to help is Igor. This is a remnant of a section cut from the stage scene and is included in the blu-ray release. Igor, without his hump and wearing a tuxedo like Dr. Frankenstein, brings props onto the stage for the blindfolded creature to perform with. Frankenstein asks 'Where's your hump?' and Igor says 'Never with a tuxedo.'
- #033
After the first day's shooting, Mel Brooks and Gene Wilder asked cinematographer Gerald Hirschfeld what he thought. Hirschfeld was generally pleased, but Brooks was not, saying the film needed to satirize the look of the old Universal horror films. Wilder defended a bewildered Hirschfeld, saying, 'Mel, we never told him that's what we wanted. He's copying, but we want to make fun of it.' Hirschfeld made changes and the following days' shooting went better.
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- #043
Marty Feldman's Igor wears a rather unusual pair of shoes while assisting the doctor in the 'Bucharest Academy of Science' stage performance. As Igor attends to the doctor, the legs of his black body stocking appear to go into cream-colored women's shoes without heels. There are black fluffy yarn pompoms on the feet. Feldman did not need a special shoe, and this is not noticeable enough to be a subtle joke.
- #044
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Gene Hackman improvised the Blind Man's farewell line, 'I was going to make espresso.' When the crew burst into laughter, the scene was immediately faded to black. Because Hackman could not repeat it without laughing, the first take was used, and his name did not appear in the credits when the film was first released.
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Teri Garr initially auditioned for the role of the fiancée Elizabeth, while Madeline Kahn was the favorite for the assistant Inga. When Kahn preferred Elizabeth, Mel Brooks asked Garr to come back the next day with a German accent. Garr won the role by saying, 'Sure, I'll do the German accent tomorrow, I could even come this afternoon.' She has said she built her accent by drawing inspiration from Cher's wigmaker.
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Liam Dunn, who played the old man kicked in the groin during Frankenstein's lecture, had actually been a casting director before later moving into acting. He suffered from emphysema; after each take the crew would offer him orange juice or oxygen, and he would ask for a cigarette. He died two years after the film, in 1976.
- #059
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Gene Wilder was famous for breaking character and laughing during filming. In the scene where he stabs himself in the thigh with a scalpel, Mel Brooks had to shoot the line "The lesson is over" in close-up to hide Wilder's laughter. Cloris Leachman often scolded Wilder for ruining her best takes; even so, she can be seen smiling as she enters the castle.
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In addition to working on a German accent overnight for the role of Inga, Teri Garr recounts the following: "When I read the part, I realized it was all about breasts, and I wasn't going to let my lack of them hold back my performance. The next day I showed up in a pink sweater and a huge bra stuffed with socks and got the part. It was the first big role I'd had that didn't involve dancing, and it was the moment I went home and said, 'I've made it, and even if this is as far as it goes, I'm happy.'"
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Marty Feldman's eyes bulged and were misaligned because of a thyroid disease and Graves' ophthalmopathy. A childhood accident, a car accident, a boating accident and cosmetic surgeries also affected his appearance. When Dr. Frankenstein says "Damn Your Eyes!" and Feldman points to his eyes and says "Too Late," it was a joke at his own expense.
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Gene Wilder joined the project on the condition that Mel Brooks not appear in the film. Brooks usually acted in his own films, but Wilder felt his presence would break the illusion they were creating. Even so, Brooks contributed his voice from off-screen as the howling wolf, Frederick's grandfather and the screaming cat.
- #072
Gene Wilder and Mel Brooks argued only once during the production, but it was a huge fight. While working on the script at Wilder's house, Brooks shouted in anger and finally slammed the door and left. About ten minutes later Wilder's phone rang; it was Brooks, who said: "WHO WAS THAT MADMAN IN YOUR HOUSE? I COULD HEAR THE YELLING ALL THE WAY OVER HERE. DON'T YOU KNOW YOU SHOULD NEVER LET CRAZY PEOPLE INTO YOUR HOUSE? THEY CAN BE DANGEROUS." Wilder later described this as "Mel's way of apologizing."
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Mel Brooks said that Columbia Pictures was strongly opposed to the film being shot entirely in black and white, and that he therefore took the project to 20th Century Fox the very next day. Alan Ladd Jr., who had just started at Fox, had no objection to the idea. However, producer Michael Gruskoff stated that the real reason for the move to Fox was Columbia's refusal to raise the budget from 1.75 million dollars to 2.8 million dollars.
- #075
The first cut of the film was nearly twice as long as the final version and was seen by everyone as a complete fiasco. However, the final version that emerged after a marathon editing session was, according to both Gene Wilder and Mel Brooks, far superior to the first. At one point they realized that for every joke that worked, three fell flat, and they cut all the jokes that didn't land.
- #076
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According to Mel Brooks, the studio tried to trick him into shooting the film in color. "They said, 'Okay, we'll do it in black and white, but let's shoot it on color stock so we can show it in Peru — they've just switched to color.' And I said, 'No, because you'll trick me. You say that now, and then to save the company you'll risk a lawsuit and print the whole thing in color. It's going to be black and white, on thick film.'"
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The "Puttin' on the Ritz" scene was Gene Wilder's idea, but Mel Brooks saw it merely as a "showpiece" and thought it would undermine the film's fidelity to the Universal horror films. Wilder recalls that while arguing for the scene he came "to the edge of anger and tears"; Brooks finally stopped him and said, "Okay, it stays!" When Wilder asked why he had changed his mind, Brooks said that if he defended it that strongly, it must be right. Only after watching the musical number with an audience laughing out loud did Brooks truly have faith in the sequence.
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Throughout the shoot, Mel Brooks constantly gave advice to Gene Wilder, whose ambition to direct he knew about. Wilder described those days: "Mel would say, 'Do you know how much trouble I'm in for not shooting that close-up? Don't ever do that.' And I'd ask, 'Who are you telling?' He'd say, 'You, for when you direct someday.'"
- #083
In the original poster artwork, a McDonald's logo was placed on the mountain. However, since permission for the logo's use was never obtained, they had to remove it from the main image because of copyright infringement. T-shirts and posters had already been printed; all of them were destroyed and redone without the McD logo.
- #084
Twin brothers and illustrators Tim Hildebrandt and Greg Hildebrandt prepared a poster for Young Frankenstein overnight after visiting the 20th Century Fox office in Manhattan in 1973. That poster was not used, but a few years later it led to their being commissioned to make a poster for another Fox film, Star Wars: Episode IV - A New Hope (1977). Even today, Greg Hildebrandt is grateful to Mel Brooks for it.
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Forty years later, Mel Brooks recalled: "We rehearsed for three weeks before we started shooting. I like rehearsals, because they give the actors a chance to get used to each other, their costumes, their accents. I told the actors, 'We're doing a very funny comedy here, but it also has to be very sweet, sad and at times very scary. And it has to be very real — no overacting. When it's funny, your character doesn't know it's funny. You just do your job. We know it's funny, the audience knows it. But you don't. So never play it funny.'"
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Because Mary Shelley is credited as a writer in the film's screenplay with the note "based on characters from Mary Wollstonecraft Shelley's novel Frankenstein," she won the 1975 Hugo Award for Best Dramatic Presentation alongside Gene Wilder and Mel Brooks, despite having been dead since 1851.
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The film was originally going to be shot at Columbia, but the studio approved a budget of only $1.75 million. Brooks said it was impossible to make the film on that budget and that at least $2 million, perhaps more, was needed. The production eventually moved to 20th Century Fox, where it grossed about $90 million.
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Although Cloris Leachman said that the name Frau Blücher means 'glue' in German and that this is why the horses neigh, this is not true. According to the DVD extras, the horses' reaction is meant to emphasize how terrifying the character is; however, their reacting to the name weakens this idea. According to another view, the name may recall the incident in which Prussian field marshal Gebhardt von Blücher died beneath his horse, or it may simply be a meaningless joke.
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Behind the Scenes (64)
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Cinematographer Gerald Hirschfeld's work dated back to the 1940s, but this was his first project with Mel Brooks. Hirschfeld was surprised when Brooks immediately began pointing out "errors" in his past work, such as Diary of a Mad Housewife (1970). Wasn't the white bathtub in the bathroom too bright? Didn't the gels flare too much? "At first, I took him seriously and was more than a little upset," Hirschfeld recalled, "until I realized he was doing his 'thing' and pulling my leg, because there was no bathtub and the bedroom was an interior set that required no window gel. So I pulled his leg and said, 'If you make one more disparaging remark about my work, I'm leaving.' We understood each other and laughed."
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Mel Brooks learned that Ken Strickfaden, who built the special electrical machines for the laboratory scenes in Frankenstein (1931) and its sequels, was still alive and living in Los Angeles. Brooks visited Strickfaden and saw that he had stored all the equipment in his garage. He arranged to rent the equipment and gave Strickfaden the on-screen credit he had never received on the original films.
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Cinematographer Gerald Hirschfeld had a career dating back to the 1940s, but this was his first project with Mel Brooks. When Brooks immediately began mocking the 'mistakes' in Hirschfeld's past work, Hirschfeld was taken aback. At first he took it seriously and was hurt, then he realized Brooks was joking and gave as good as he got; the two laughed and hit it off.
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The candles the actors carried while exploring the castle at night were aluminum tubes with 100-watt projection bulbs hidden inside. Each actor had wires running through his sleeve and trouser leg; in addition to their lines, they had to remember to hold the wires and the bulb so they would not be visible.
- #128
Mel Brooks deliberately shot the film the way James Whale shot Frankenstein (1931) and Bride of Frankenstein (1935). He used wide angles frequently, almost never zoomed, and moved the camera only with minimal effects. He also drew on techniques from the German expressionist directors Fritz Lang and F.W. Murnau.
- #129
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It has long been said that the scene in which Frederick accidentally stabs himself with a scalpel was not in the script and that Gene Wilder really did it by accident and kept going with the scene. This is not true; in fact, a square patch can be seen under Wilder's trouser leg where the scalpel was meant to pierce.
- #131
Mel Brooks specifically wanted the actors playing the villagers and officials in Transylvania to speak with English accents. He did this as a joke, because most of the characters in Frankenstein (1931) and its sequels spoke with English accents even though the films were set in Germany or Eastern Europe.
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In the 'Puttin' On The Ritz' scene, Igor is briefly seen playing the piano on the right side of the stage. Also, after the creature jumps into the audience, when the camera returns to Dr. Frankenstein lying unconscious on stage, the man trying to help him is Igor. This is a remnant of a section cut from the stage scene and is included in the blu-ray release. Igor, without his hump and wearing a tuxedo like Dr. Frankenstein, brings props onto the stage for the blindfolded creature to perform his act. Frankenstein asks 'Where's your hump?', and Igor says 'Never with a tuxedo.'
- #134
After the first day's shooting, Mel Brooks and Gene Wilder asked cinematographer Gerald Hirschfeld what he thought. Hirschfeld was generally pleased, but Brooks was not, saying the film needed to satirize the look of the old Universal horror films. Wilder defended a bewildered Hirschfeld, saying, 'Mel, we never told him that's what we wanted. He's copying it, but we want to make fun of it.' Hirschfeld made changes and the following days' shooting went better.
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Marty Feldman's Igor wears a rather unusual pair of shoes while assisting the doctor in the 'Bucharest Academy of Science' stage performance. As Igor attends to the doctor, the legs of his black bodysuit appear to go into cream-colored women's shoes without heels. On top of the feet are black fluffy yarn pompoms. Feldman did not need a special shoe, and this is not noticeable enough to be a subtle joke.
- #148
Gene Wilder joined the project on the condition that Mel Brooks would not appear in the film. Brooks usually acted in his own films, but Wilder believed his presence would break the illusion they were creating. Even so, Brooks contributed his voice from off-screen as the howling wolf, Frederick's grandfather and the screaming cat.
- #149
Gene Wilder and Mel Brooks argued only once during the production process, but it was a major fight. While working on the script at Wilder's house, Brooks shouted angrily and eventually stormed out, slamming the door. About ten minutes later Wilder's phone rang; it was Brooks, who said: "WHO WAS THAT MADMAN IN YOUR HOUSE? I COULD HEAR THE SCREAMING ALL THE WAY OVER HERE. DON'T YOU KNOW YOU SHOULD NEVER LET CRAZY PEOPLE INTO YOUR HOME? THEY CAN BE DANGEROUS." Wilder later described this as "Mel's way of apologizing."
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Mel Brooks said that Columbia Pictures strongly opposed shooting the film entirely in black and white, and that he therefore took the project to 20th Century Fox the very next day. Alan Ladd Jr., who had just started at Fox, raised no objection to the idea. However, producer Michael Gruskoff stated that the real reason for the move to Fox was Columbia's refusal to raise the budget from 1.75 million dollars to 2.8 million dollars.
- #152
The film's first cut was nearly twice as long as the final version and was seen by everyone as a complete fiasco. But the final version that emerged after a marathon editing session was, according to both Gene Wilder and Mel Brooks, far superior to the first. At one point they realized that for every joke that worked, three fell flat, and they cut all the jokes that didn't land.
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According to Mel Brooks, the studio tried to trick him into shooting the film in color. "They said, 'All right, let's do it in black and white, but let's shoot it on color stock so we can show it in Peru, they've just switched to color.' And I said, 'No, because you'll trick me. You say that now, and then to save the company you'll risk a lawsuit and print everything in color. It's going to be black and white, on thick film.'"
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The "Puttin' on the Ritz" scene was Gene Wilder's idea, but Mel Brooks saw it merely as a "showstopper" and thought it would undermine the film's fidelity to the Universal horror films. Wilder recalls that while arguing for the scene he came to "the brink of rage and tears"; Brooks finally stopped him and said, "All right, it stays!" When Wilder asked why he had changed his mind, Brooks said that if he defended it that strongly, it must be right. But it was only after watching the musical number with an audience laughing out loud that Brooks truly gained confidence in the sequence.
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While Mel Brooks wanted at least 2.3 million dollars allocated to the budget, Columbia Pictures decided that 1.7 million dollars would be enough. Brooks then went to 20th Century Fox for distribution, and they accepted the higher budget. Fox signed five-year contracts with Gene Wilder and Brooks.
- #159
Throughout the shoot, Mel Brooks constantly gave advice to Gene Wilder, whose ambition to direct he knew about. Wilder described those days as follows: "Mel would say, 'Do you know how much trouble I'm in for not shooting that close-up? Don't ever do that.' And I'd ask, 'Who are you telling?' And he'd say, 'You, for when you direct someday.'"
- #160
In the original poster artwork, a McDonald's logo was placed on the mountain. But since permission to use the logo was never obtained, they had to remove it from the main image because of copyright infringement. T-shirts and posters had already been printed; all of them were destroyed and redone without the McD logo.
- #161
Twin brothers and illustrators Tim Hildebrandt and Greg Hildebrandt prepared a poster for Young Frankenstein overnight after visiting the 20th Century Fox office in Manhattan in 1973. This poster was not used, but a few years later it led to their being commissioned to make a poster for another Fox film, Star Wars: Episode IV - A New Hope (1977). Greg Hildebrandt remains grateful to Mel Brooks for this even today.
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Mel Brooks recalled forty years later: "We rehearsed for three weeks before we started shooting. I love rehearsals, because they give the actors a chance to get used to each other, to their costumes, to their accents. I told the actors, 'We're making a very funny comedy here, but it also has to be very sweet, sad and at times very scary. And it has to be very real – no overacting. When it's funny, your character doesn't know it's funny. You just do your job. We know it's funny, the audience knows it. But you don't. So don't ever play it funny.'"
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Because Mary Shelley was credited as a writer in the film's screenplay with the line "based on characters in Mary Wollstonecraft Shelley's Frankenstein novel," she won the 1975 Hugo Award for Best Dramatic Presentation along with Gene Wilder and Mel Brooks, despite having been dead since 1851.
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The film was originally to be shot at Columbia, but the studio approved a budget of only $1.75 million. Brooks said it was impossible to make the film on that budget, that at least $2 million, perhaps more, was needed. The production eventually moved to 20th Century Fox, where it grossed about $90 million.
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Characters & Cast (37)
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Gene Hackman improvised the Blind Man's farewell line, "I was going to make espresso." When the crew burst out laughing, the scene was immediately blacked out. Hackman couldn't repeat it without laughing, so the first take was used, and when the film first premiered his name did not appear in the credits.
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Teri Garr initially auditioned for the role of the fiancée Elizabeth, while Madeline Kahn was the favorite for the assistant Inga. When Kahn chose Elizabeth, Mel Brooks asked Garr to come back the next day with a German accent. Garr landed the role by saying, "Sure, I'll do the German accent tomorrow, I could even come this afternoon." She has said she based the accent on Cher's hairdresser.
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Liam Dunn, who played the old man kicked in the groin during Frankenstein's lecture, had actually been a casting director before moving into acting. He suffered from emphysema; after each take the crew would offer him orange juice or oxygen, and he would ask for a cigarette. He died two years after the film, in 1976.
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Gene Wilder was famous for breaking character and laughing during shooting. In the scene where he stabs himself in the thigh with a scalpel, Mel Brooks had to shoot the line "The lecture is over" in close-up to hide Wilder's laughter. Cloris Leachman often scolded Wilder for ruining her best takes; even so, she can be seen smiling as she enters the castle.
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In addition to working on a German accent overnight for the role of Inga, Teri Garr recounts the following: "When I read the part I realized it was all about boobs, and I wasn't going to let my lack of them hold back my performance. The next day I showed up in a pink sweater and a huge bra stuffed with socks and got the part. It was the first big role I'd had where I talked without dancing, and it was the moment I went home and said, 'I've made it, and if this is as far as it goes, I'm happy.'"
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Marty Feldman's eyes bulged and were misaligned due to a thyroid disease and Graves' ophthalmopathy. A childhood accident, a car crash, a boating accident and cosmetic surgeries also affected his appearance. When Dr. Frankenstein says "Damn Your Eyes!", Feldman pointing at his eyes and saying "Too Late" was a joke at his own expense.
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Easter Eggs & References (1)
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During a village council meeting, one of the authority figures says they already know what Frankenstein is after, based on their previous five experiences. In his DVD commentary, Mel Brooks said this was a nod to the first five Universal films. In a DVD interview, Gene Wilder says the film draws on Frankenstein (1931), Bride of Frankenstein (1935), Son of Frankenstein (1939) and The Ghost of Frankenstein (1942).
Deeper Meaning (41)
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Although Cloris Leachman said that the name Frau Blücher means 'glue' in German and that this is why the horses neigh, this is not true. According to the DVD extras, the horses' reaction is meant to emphasize how terrifying the character is; however, their reacting to the name weakens this idea. According to another view, the name may recall the incident in which the Prussian field marshal Gebhardt von Blücher died beneath his horse, or it may simply be a meaningless joke.
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Life & Family (1)
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The brain sent for Igor to steal was labeled as belonging to "Hans Delbrück, scientist and saint." A real Hans Delbrück existed: a 19th-century German military historian and professor at the University of Berlin, noted for moving beyond technical matters and relating war to politics and economics. His son, Max Delbrück, was a 20th-century biochemist and Nobel laureate.
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Reference databases
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