SPOILERS
Mel Brooks is a legend. At least he used to be. Whilst writing a lot of classic films throughout his career, Brooks was awesome. With "The Producers", "Silent Movie", "Blazing Saddles", "Young Frankenstein" and others, Brooks created a collection of some of the finest spoof/comedy collections of all time. The 1990's were considerably more cruel on Brooks however. With the very average "Life Stinks" Brooks began on a downward spiral and this was only confirmed more with "Robin Hood: Men In Tights" and "Dracula: Dead And Loving It". Whilst these two films at the end both featured the gorgeous Amy Yasbeth, the scripts were hideous. With these three films under his belt then, it seems of little surprise that Brooks would retreat to his first (and arguably his finest) success, "The Producers".
In this film, we are introduced to Max Bialystock (the superb late Zero Mostel), a washed up Broadway Producer who is forced to fraternise with old ladies as an attempt to get their investment in his plays. Entering into Bialystock's life is Leo Bloom (the God that is Gene Wilder), a nervous wreck of an accountant who retreats to his blue security blanket, the second he is placed in peril. Together they team up to produce a Broadway flop, since a flop makes more money when the particular scenario is right. Will Bloom & Bialystock succeed and make their fortune? Or will they screw up in mammoth proportions and end up in prison? This is Mel Brooks, it's obvious which of the two options is more likely!
Whilst I confess to never seeing Brooks' recent theatrical remake of this film (the problem with plays being limited to America), I must have seen this original piece countless times. Whilst I confess that nowadays it feels slightly dated, it remains hilarious and remains wonderful to this day. In Nostel and Wilder, there is a perfect partnership of the brash loud mouth and the quiet withdrawn type. Added to the main partnership are a superb supporting cast of Kenneth Mars, Dick Shawn and others. Mars in-particular as the eccentric Nazi writer of "Springtime For Hitler", the duo's chosen play, is hilarious in his extremeness.
There's not much more to be said really. "The Producers" remains one of Brooks' finest pieces of work, and I pray that the film remake (based on the theatre production) is going to be acceptable. Ultimately though, even if that remake is dire, lets not take away from the original. This film is a beautiful piece of comedy and if you haven't seen it yet, then get yourself to the video store straight away.
Mel Brooks is a legend. At least he used to be. Whilst writing a lot of classic films throughout his career, Brooks was awesome. With "The Producers", "Silent Movie", "Blazing Saddles", "Young Frankenstein" and others, Brooks created a collection of some of the finest spoof/comedy collections of all time. The 1990's were considerably more cruel on Brooks however. With the very average "Life Stinks" Brooks began on a downward spiral and this was only confirmed more with "Robin Hood: Men In Tights" and "Dracula: Dead And Loving It". Whilst these two films at the end both featured the gorgeous Amy Yasbeth, the scripts were hideous. With these three films under his belt then, it seems of little surprise that Brooks would retreat to his first (and arguably his finest) success, "The Producers".
In this film, we are introduced to Max Bialystock (the superb late Zero Mostel), a washed up Broadway Producer who is forced to fraternise with old ladies as an attempt to get their investment in his plays. Entering into Bialystock's life is Leo Bloom (the God that is Gene Wilder), a nervous wreck of an accountant who retreats to his blue security blanket, the second he is placed in peril. Together they team up to produce a Broadway flop, since a flop makes more money when the particular scenario is right. Will Bloom & Bialystock succeed and make their fortune? Or will they screw up in mammoth proportions and end up in prison? This is Mel Brooks, it's obvious which of the two options is more likely!
Whilst I confess to never seeing Brooks' recent theatrical remake of this film (the problem with plays being limited to America), I must have seen this original piece countless times. Whilst I confess that nowadays it feels slightly dated, it remains hilarious and remains wonderful to this day. In Nostel and Wilder, there is a perfect partnership of the brash loud mouth and the quiet withdrawn type. Added to the main partnership are a superb supporting cast of Kenneth Mars, Dick Shawn and others. Mars in-particular as the eccentric Nazi writer of "Springtime For Hitler", the duo's chosen play, is hilarious in his extremeness.
There's not much more to be said really. "The Producers" remains one of Brooks' finest pieces of work, and I pray that the film remake (based on the theatre production) is going to be acceptable. Ultimately though, even if that remake is dire, lets not take away from the original. This film is a beautiful piece of comedy and if you haven't seen it yet, then get yourself to the video store straight away.