Richard Pryor
The quintessential Wilder pairing. Pryor was the live-wire, street-smart id to Wilder’s tightly-wound, neurotic ego. Their on-screen chemistry was lightning in a bottle, a blend of genuine affection and chaotic energy that powered four films, including
the massive hits "Silver Streak" (1976) and "Stir Crazy" (1980). While they weren’t especially close off-screen, their professional respect created an iconic duo. For a look at Pryor's dramatic chops, seek out "Blue Collar" (1978), a gritty drama where he shines as a disillusioned factory worker.
Madeline Kahn
No one played sophisticated absurdity quite like Madeline Kahn. In Mel Brooks’ masterpieces "Blazing Saddles" (1974) and "Young Frankenstein" (1974), she was the perfect foil for Wilder. As the Dietrich-esque Lili Von Shtupp or the tightly-wound fiancée Elizabeth, she matched Wilder’s hysteria with her own brand of hilarious, high-strung glamour. For a masterclass in her ensemble comedy work, your next watch has to be "Clue" (1985), where her portrayal of Mrs. White and the iconic "flames on the side of my face" monologue is legendary.
Zero Mostel
As the bombastic, conniving Max Bialystock in Mel Brooks' "The Producers" (1967), Zero Mostel was a force of nature. Wilder played Leo Bloom, the meek accountant swept into a scheme to produce a surefire flop, and their dynamic set the template for przyszłe comedic odd couples. Mostel’s larger-than-life stage presence was the perfect anchor for Wilder's breakout performance, full of nervous breakdowns and panicked shrieks. To see Mostel’s Tony-winning theatrical power in another classic, watch the film version of "A Funny Thing Happened on the Way to the Forum" (1966).
Cloris Leachman
The mere mention of her name—”Frau Blücher!”—causes horses to neigh in terror. As the stern, mysterious housekeeper of Castle Frankenstein in "Young Frankenstein," Cloris Leachman created one of the most memorable side characters in comedy history. Her deadpan delivery and sinister undertones were the perfect counterbalance to the frantic energy of Wilder, Marty Feldman, and Teri Garr. Leachman won an Oscar for a dramatic role, and you can see that incredible range in "The Last Picture Show" (1971), where she plays a lonely, neglected housewife.
Peter Boyle
It’s hard to imagine a more sympathetic and hilarious monster than the one Peter Boyle created for "Young Frankenstein." Grunting, groaning, and gracefully dancing to "Puttin' on the Ritz," his monster was the soulful, misunderstood heart of the film. The chemistry between Boyle's creature and Wilder's manic doctor is central to the movie's genius. Boyle later found massive fame as the grumpy-but-lovable patriarch Frank Barone on "Everybody Loves Raymond," but for a glimpse of his intense dramatic beginnings, check out the gritty 1970 film "Joe."
Teri Garr
As the bubbly, yodeling lab assistant Inga in "Young Frankenstein," Teri Garr was the picture of wide-eyed comedic charm. Her character's playful innocence and pitch-perfect timing provided a sweet and funny counterpoint to the film's more macabre and manic elements. Garr went on to have a remarkable career, proving her versatility across genres. For your next watch, see her shine in a dramatic role in Steven Spielberg’s "Close Encounters of the Third Kind" (1977) or earn an Oscar nomination for her work in the comedy classic "Tootsie" (1982).
Gilda Radner
Their on-screen collaborations were extensions of a real-life love story. Wilder and Gilda Radner met filming "Hanky Panky" (1982) and married two years later. They would go on to star in "The Woman in Red" (1984) and "Haunted Honeymoon" (1986). While the films themselves had mixed success, the genuine affection between the two comedy icons is palpable. To truly appreciate Radner's singular genius, watch "Gilda Live" (1980), the filmed version of her one-woman Broadway show that showcases the beloved characters she created on "Saturday Night Live."
