Plot
Victor Frankenstein (played by Barret Oliver) is a young boy who creates movies starring his dog, Sparky (a Bull Terrier, whose name is a joke on the use of electricity in the film). After Sparky is hit by a car, Victor learns at school about electrical impulses in muscles, and gets the idea to bring his pet back to life. He creates elaborate machines which bring down a bolt of lightning that revives the dog. While Victor is pleased, his neighbors are terrified by the animal, and when the Frankensteins decide to introduce the revitalized Sparky to them, they become angry and terrified.
Sparky runs away, with Victor in pursuit, and they find themselves at a local miniature golf course, and hide in its flagship windmill. The Frankensteins' neighbors, now an angry mob, arrive on the scene, and while using a cigarette lighter to try to see in, the windmill is accidentally lit on fire. Victor falls and is knocked out, but Sparky rescues him from the flames, in time to be crushed by the windmill. The mob realizes its error and use their cars, along with jumper cables, to "recharge" Sparky. He is revived, and all celebrate. Sparky later falls in love with a poodle whose fur bears a strong resemblance to the hairdo of the Bride of Frankenstein.
Read more about this topic: Frankenweenie (1984 film)
Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)