Abbott & Costello Meet Frankenstein | Issue | Philosophy Now
Abbott and Costello Meet Frankenstein () on IMDb: Movies, TV, Celebs, and more. Talbot knows he must warn someone anyone but unfortunately, it's Lou Of course, this opening scene is all just a nice excuse for the new Universal. Abbott and Costello Meet Frankenstein is a American horror comedy film directed by While the boys open the second crate containing the Monster, Chick leaves the room to greet .. The Hunchback of Notre Dame (); The Man Who Laughs (); The Last Warning (); The Last Performance ( ); The Old. Abbott and Costello had lost momentum—and even appeared in a couple called Abbott And Costello Meet Frankenstein, in which the boys do Abbott and Costello play baggage clerks who, in spite of a telephone warning.
Early on in it she states her therapeutic intent: By pilgrimage here I mean not a predetermined track, but rather just the opposite, since what is most abhorrent is to let someone else determine your proper path, instead of having a keyed-up watchfulness for the full range of possible futures.
What then was the project of the Abbott and Costello film? 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. 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. 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.
Abbott and Costello Meet Frankenstein
Frankenstein's notebook in Sandra's desk and Sandra finds Joan's insurance company employee ID in her purse. As the men and women prepare to leave for the ball, a suavely dressed Dr. Dracula introduces himself to Joan and the boys. Also working at the castle is the naive Prof.
Stevens Charles Bradstreetwho questions some of the specialized equipment that has arrived. After Wilbur admits that he was in the basement, Sandra feigns a headache and tells Wilbur and the others that they will have to go to the ball without her.
In private, Sandra admits to Dracula that Stevens' suspicions, Joan's credentials, and Wilbur's snooping in the basement have made her nervous enough to put the experiment on hold.
Dracula asserts his will by hypnotizing her and biting her in the neck in a continuity error, Dracula's reflection is visible in a mirror. Vampires do not have reflections, as stated in Dracula Everyone is now at the masquerade ball. Talbot arrives and confronts Dr. Lahos, who is in costume as Dracula. Lejos easily deflects Talbot's accusations and takes Joan to the dance floor. Sandra lures Wilbur to a quiet spot in the woods and attempts to bite him, but Chick and Larry approach and she flees.
Wilbur escapes, but the Wolf Man attacks McDougal, who is also at the ball. Since Chick's costume includes a wolf mask, McDougal accuses Chick of attacking him out of revenge.
Chick escapes and witnesses Dracula hypnotizing Wilbur. Chick is also hypnotized and rendered helpless, while Dracula and Sandra bring Wilbur and Joan back to the castle.
Abbott and Costello Meet Frankenstein (1948)
The next morning, Chick and Talbot, both fugitives, meet up in the bayou. Talbot confesses to Chick that he is indeed the Wolf Man.
Chick explains that Dracula has taken Wilbur and Joan to the island and they agree to work together to rescue them. Wilbur is held in a pillory in the cellar. Sandra explains her plan to transplant his brain into the Monster. When she and Dracula leave him to prepare the Monster for the operation, Chick and Talbot sneak in to set Wilbur and Stevens free.
Dracula and Sandra return to the cellar and find Wilbur missing; Dracula easily recalls Wilbur and he soon finds himself strapped to an operating table in the lab. The Monster is on an adjacent table, receiving electric shocks.
As Sandra brings a scalpel to Wilbur's forehead, Talbot and Chick burst in.
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Talbot pulls Sandra away from Wilbur and Chick unintentionally knocks her out while fending off Dracula with a chair. Chick flees the lab, pursued by Dracula. Talbot is about to untie Wilbur when he once again transforms into the Wolf Man.
Dracula returns to the lab and engages in a brief tug of war with the Wolf Man over Wilbur's gurney.Abbott and Costello Meet Frankenstein (9/11) Movie CLIP - Do You Believe Me Now? (1948) HD
Dracula flees and the Wolf Man gives chase. Chick returns to untie Wilbur just as the Monster, now at full power, breaks his restraints and climbs off his gurney. Sandra attempts to command him, but the Monster picks her up and tosses her out the lab window to her death.
Chick and Wilbur escape the lab and run from room to room with the Monster following them.
Dracula, while fighting with the Wolf Man, attempts to escape by transforming into a bat. The Wolf Man leaps, catches the bat and tumbles off a balcony onto the rocks below. Presumably, both are killed. Joan abruptly wakes from her trance and is rescued by Stevens.