richardchatten
Joined May 2016
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Just in case you weren't aware that Mel Brooks nurtured 'The Elephant Man', and if ever you needed evidence that black & white represented the cinema's premier default setting you need look no further than 'Young Frankenstein'.
Plainly borne of a deep affection for the Universal horrors of the early sound era, Brooks manages to see the funny side of elements as disparate as the one-armed police inspector and the blind hermit. While further evidence that Brooks cast his net wide was the scene where Gene Wilder & Peter Boyle join forces in a delightful parody of the scene where Karloff gives a piano recital in 'The Walking Dead'.
Plainly borne of a deep affection for the Universal horrors of the early sound era, Brooks manages to see the funny side of elements as disparate as the one-armed police inspector and the blind hermit. While further evidence that Brooks cast his net wide was the scene where Gene Wilder & Peter Boyle join forces in a delightful parody of the scene where Karloff gives a piano recital in 'The Walking Dead'.
In the second volume of his memoirs Michael Powell described how disappointed he was when many years later he got the opportunity to re-see the final production of The Archers and discovered that despite remembering it being in colour because it involved so many scenes set at night it was actually made in black & white; which must surely qualify as a unique instance of a director suffering that particular let-down watching his own film.
But don't let that put you off, it's a ripping yarn with a memorable score by Mikis Theodorakis and as you would expect from Emeric Pressburger contains such quirky details as the sequence with the dumplings.
But don't let that put you off, it's a ripping yarn with a memorable score by Mikis Theodorakis and as you would expect from Emeric Pressburger contains such quirky details as the sequence with the dumplings.