Highly Overrated But Still Good

As Good As It Gets

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Copyright 8 September 1949 (in notice: 1948) by Universal Pictures Co., Inc. New York release at Loew's Criterion: 28 July 1948. U.S. release: July 1948. U.K. release (through J. Arthur Rank's General Film Distributors): 7 November 1949. Australian release: 25 November 1948. U.S. length: 83 minutes. U.K. length: 79 minutes. Australian length: 5,642 feet. 63 minutes. U.K. and Australian release title: ABBOTT AND COSTELLO MEET THE GHOSTS.SYNOPSIS: Two bungling shipping clerks (helped? by the Wolf Man) tangle with Count Dracula and Frankenstein's Monster.NOTES: Negative cost: $800,000. Some sources cite the U.S. running time as 92 minutes. This is incorrect. The TV print which seems in every way complete runs 83 minutes. The film was cut in both the U.K. and Australia by their Film Censors, both of whom also insisted on the title change. "Frankenstein" was a dirty word in Australia in 1948 as all so-called "Horror films" at that time were completely banned. COMMENT: It's amazing how few contemporary critics appreciated Abbott and Costello. They were generally dismissed with a sneer. The fact that some of their films had quite novel plots ("The Little Giant", "The Time of Their Lives") as well as a high level of verbal and visual wit was usually overlooked or disregarded. Abbott and Costello were irredeemably "lowbrow". Even at the conclusion of an otherwise favorable review of "Meet Frankenstein", a contemporary critic, Lionel Collier, can sum up that the comedians provide plenty of entertainment "if you are unsophisticated enough to enjoy them."Fortunately, very few movie-goers took any notice at all of critics back in the 1940's. "Meet Frankenstein" actually restored Abbott and Costello's flagging careers, putting them right back with the top ten money-making stars.Today "Meet Frankenstein" is justly regarded as one of their best films — if not their masterpiece. For once director Charles T. Barton (a longtime friend and former assistant of William A. Wellman) has really risen to the occasion, handling both the comedy and the horror so effectively as to rouse the ire of both the U.K. and Australian censors. Exactly twenty minutes were lopped from Australian prints. "Meet Frankenstein" must hold the record for the most mutilated Hollywood film ever put into Australian theatrical release.Today, many critics regard "Meet Frankenstein" as one of the best satires on horror movies ever made. I agree!Production values are absolutely first-class. It is not only Barton's deft direction that keeps the laughs and the thrills coming at a marvelous pace, but the skilled film editing, atmospheric photography, creepy sets, and the mood-enhancing music score by Frank Skinne. Abd even by today's standards, the make-up and special effects are often stunning.For another fascinating Abbott and Costello offering, I recommend "Hold That Ghost".

This line is already a cliché, but here we go again - for it's time and genre this movie is real gem. Once again we have Lugosi as Dracula, Chaney as Wolfman and Frankenstein monster all together in one movie, but this time, instead of horror classic, we have Abbott and Costello comedy, and I must say I prefer this approach. It's not Oscar material, but it's 80 minutes of pure fun.8/10

Aside from the fact that the comedy team itself is in peak form here, the actors playing the monsters are allowed to play it straight and are all seen to great effect. Glenn Strange as the Monster has more screen time in this film than the Houses of Frankenstein and Dracula combined and his portrayal has to be the most brutish and inhuman of those performed by the various actors who took on the role at Universal. The fact that most viewers are not familiar with Strange's face, too, adds to his authenticity in the role, I feel.With Karloff, Chaney, and Lugosi you can see their well known faces though the Frankenstein makeup, and are conscious of the fact that they are playing the part. But seeing the unknown Strange's face in the same role twigs no recognition for the viewer, helping to accept him in the role even more so. At least, that's how I see it.Lugosi is at the last great peak of his career in this film in what was only his second time to play Count Dracula. (He was Dracula in Return of the Vampire in all but name, of course). Heavily made up because of his aging features, that white pasty face only enhances his other worldliness as the Count. Bela, of course, also brought an aristocratic dignity to the role.It's a shame that this terrific performance by Lugosi did not lead to him being hot and back in demand again in Hollywood but it didn't. Horror films were becoming passe and Lugosi, unlike Karloff, was only associated with that genre. Adding to the insult, though, when it came to promoting A & C Meet Frankenstein, Universal didn't ask Lugosi to participate, even though he was a key star in the film's success. Instead the studio asked Karloff to do it.Finally, I never found Lon Chaney more effective in the dual role of Larry Talbot and the Wolf Man. One of the reasons for this is that I think the Bud Westmore Wolf Man makeup that he wore in this film is more effective than the Jack Pierce makeup he had on in his previous outings as the hirsute one. Chaney hated the Pierce makeup because it took so long to apply it (his all time hatred for makeup applications was that of the Mummy, by the way, which took even longer to put on).I'd recommend it. The two Universal franchises of the 40's - Abbott and Costello and the remainder of Universal horror - blend effectively here.

Universally Admired Movie that Revitalized the Career of Abbott and Costello and put an Exclamation Point on the Monster Films of Frankenstein, Dracula, and The Wolf Man. Unintentionally Anticipating the TV Injection of a New Fan Base in the 50''s that Created a "Famous Monsters" Phenom in Popular Culture, this Fun Film did something for Everyone Involved in the Production to Varying Degrees. Lon Chaney Jr. and Bela Lugosi Reprised Their Roles, but Karloff Snubbed the Monster until 1958 with "Frankenstein 1970". He is Replaced by Glenn Strange, for the Second Time.Hammer Films would take over less than a Decade Later and Prove the Staying Power of the Classical. Although the Film was made on the Cheap it Looks Classy with Atmospheric Sets, Creepy Mad Labs, a Fine Score by Frank Skinner, Good Costuming and Make-Up, and a Snappy Script. The Monsters Play it Straight which adds to the Contrast. Although there is one LOL Scene when the Frankenstein Monster firsts sees Costello. Fans of A&C usually consider this Their Best, if not one of Their Best, and Fans of the Universal Monsters give this a Pass because it is Pure Parody and are Respectfully Included. If You want to see why all the Fuss about Abbott and Costello this might be a Good one to Watch. Not so for the Creatures. They do Their Thing here but is Not the Best Screening of any one of the Trio.Overall, Extremely Popular Genre Blend that does just about Everything Right.