As a huge Mel Brooks fan, I’ve always admired his genius for comedy. Silent Movie is not only laugh-out-loud funny—it’s also a brilliant tribute to the Silent Era of film. His spoofs are sharp, his comedic timing is flawless, and Blazing Saddles remains one of the funniest movies I’ve ever seen.

Oddly enough, despite my love for Mel Brooks, I had never gotten around to watching Young Frankenstein. It’s his parody of the Frankenstein story, and a loving homage to the classic Universal Monster movies. So when I saw Madeline Kahn’s name attached to the film, I knew it was time.

I’ve been a Madeline Kahn fan ever since I saw her as Mrs. White in Clue. That performance—especially her famous “flames on the side of my face” line—was pure comedy gold. Her timing, delivery, and ability to switch tones on a dime made her unforgettable. And let’s not forget, she earned an Oscar nomination for playing Lili von Shtupp in Blazing Saddles. She’s a true legend of comedy, and I was thrilled to see her in what was, until now, the only Mel Brooks movie I hadn’t seen.

In Young Frankenstein, Kahn plays Elizabeth, the glamorous, high-society fiancée of Dr. Frederick Frankenstein. Her very first scene is both hilarious and perfectly stylized. As Frederick prepares to board a train to Transylvania, we meet Elizabeth in all her over-the-top glory—dressed in jewels and finery like a 1930s movie star, dramatic and self-absorbed.

When Frederick leans in for a goodbye kiss, Elizabeth pulls back without breaking her romantic stare and says, “Not on the lips.” She’s going to a party and doesn’t want her lipstick smudged. That one moment says everything about her character—vain, self-conscious, and obsessed with appearances. The comedy builds as she rejects his attempts to hug her, shouting things like, “The hair! The hair! Just been set!” and “No, the dress is taffeta! It wrinkles so easily!”

Each time she breaks character to scold him, she switches from a sultry, film-noir voice to a blunt, upper-crust tone. That contrast adds so much to the humor. When Frederick asks if she loves him, she replies breathily, “You bet your boots it does,” echoing old-school slang, only to follow it up with a sharp correction when he touches her dress. The final touch is when he blows her a kiss, and she physically ducks out of the way, making a disgusted face like someone just threw garbage at her—only to immediately flash a fake smile and wave sweetly.

Kahn plays Elizabeth like a send-up of every melodramatic, self-absorbed woman in classic Hollywood films, and it works perfectly. Her exaggerated movements and comedic timing bring the spoof to life. She disappears from the movie for a long stretch and only returns toward the end—right when Frederick is in bed with his new assistant, Inga.

We find out Elizabeth is about to arrive, and when she does, chaos follows. She ends up getting kidnapped by The Monster. At first terrified, she tries to bargain with him—offering money, mentioning an important phone call she’s expecting—but as he drops his pants, her reaction changes dramatically. With eyes wide and voice filled with shocked awe, she blurts out one of the funniest lines in the whole film: “Oh my God… Woof!”

What follows is an outrageous scene in which Elizabeth goes from terrified to euphoric. The Monster’s stamina and physical gifts completely win her over, and Kahn takes it all the way—breaking into operatic singing as a hilariously exaggerated expression of sexual ecstasy. It’s absurd, over-the-top, and hysterical.

By the end of the movie, Elizabeth ends up married to The Monster, now styled like the Bride of Frankenstein. It’s completely ridiculous—and Kahn sells every second of it. Whether she’s switching between voices, reacting to a blown kiss like it’s toxic waste, or literally singing through sex, Kahn fully commits. She makes Elizabeth not just a parody, but a fully realized comedic character.

Though her role in Young Frankenstein is relatively small—likely due to her also starring in Blazing Saddles that same year—she steals every scene she’s in. Her performance blends subtlety and outrageousness in a way only Madeline Kahn could pull off.

Whether it’s Clue, Blazing Saddles, Young Frankenstein, or Paper Moon, Madeline Kahn will always stand as one of the true icons of 70s and 80s comedy. Her talent, timing, and presence made every role unforgettable. She wasn’t just funny—she was unforgettable.