Transforming Shelley’s “Frankenstein” into “Young Frankenstein” by Mel Brooks takes twists and turns in defining the context of library assessments. In the movie, Brooks is categorical of employing various devices and productive aspects to create a comic and tragic film, which depicts the life of Dr. Frankenstein’s grandson, who is on a mission to prove that his late grandfather was not insane in his inventors. The discovery of a potential way to return people back to life was inspiring and exceptional. The Brook’s film is based on the parody of Shelley’s Frankenstein and has the metrics and frameworks for understanding the consistent themes and the potential changes. The director and producers employed strategies to connect the two stories, while also remaining g creative and useful in shaping the comic outcomes (Movie clips n.p). The changes in Shelley’s novel is attached the need to make it more relevant to the current audience. For instance, Shelley’s Frankenstein is set in the 19th century and was relevant for that period in time. Conversely, Brooks’ Young Frankenstein addresses the concepts in the 20th century. A lot might have happened, hence the use of Frankenstein’s grandfather as the foundation of consistent measures and frameworks.
The changes and transformations include the comic elements in the film compared to the book, which was informative and relevant to the timeline of such situations. Conversely, the novel is compared to the applicability to James Whale’s Frankenstein, which depicted various platforms that transform the long-term implications and complications. In this situation, the focus is on how the two films can be addressed and assessed to advance the deviation, creativity, and timeline of how the outcomes are determined. The focus of both films is on the creativity of Shelley’s perspective and creating a model of sustainable outcomes and ideologies. In this regard, the comic satire that Brooks uses in Young Frankenstein posited that the initial work should be based on the comic elements and the framework of satire (PrimitiveScrewhead1300 n.p). In this regard, the concern is on how the individual films are based on the little deviation to capture satire through the setting, plot, and other production elements that influence the long-term engagement practices.
Brook sought to deviate from Whale’s perspective to instill the necessity for satirical elements used to shape the novel and create the relevant outcomes. The nameless monster and the young Frankenstein are given less-serious roles, which highlight their significance in defining the aspects and concepts of the concerted agreement. The nature of Young Frankenstein is based on the parody related to various publications, which was satirical about the society that it represented. Moreover, the context is anchored on the ability of the collection of the 1930s films by Whales and others to shape the society in a comic but parody manner. The satire is manifested in the frameworks and models that influence the society in the right or wrong manner, as the monster is crying of neglect by the members of the society, including its creator, while young Frankenstein is adamant on the need to approve the current discretions (Movieclips n.p). The satirical elements shape the arguments on the necessity of the outcomes, including the measures to presence the Universal films as the foundation of the parody and satirical elements. Brooks’ version was regarded as absurd and satirical in many aspects, which underpin on the lost plot and other elements that define the real issues of the society.
The temptation and pressure to resurrect the dead grandfather is compelling and can influence the applicability of relevant discourses to shape satires and its manifestation. These elements are necessary in defining the discourse of the film and institutionalizing the frameworks of the ideal outcomes. In such scenarios, part of the management practices is on the use of black and white and the reference to the obsessive society that was hell-bent on being slaves of the technology.
Works Cited
Movieclips. Frankenstein (1/8) Movie CLIP – Fritz Steals the Brain (1931) HD. YouTube video, 2011. Retrieved from: http://amzn.to/rTiivc
PrimitiveScrewhead1300. “Young Frankenstein Igor (eyegor)” 2014.” YouTube Video. retrieved from: https://www.youtube.com/watch?v=RyU99BCNRuU&list=PLXSLm2YQv7E6i1sC5FtMZrb_UwgcsOzf
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