THE PRODUCERS
US, 2005, 130 minutes, Colour.
Nathan Lane, Matthew Broderick, Uma Thurman, Will Ferrell, Gary Beach, Roger Bart.
Directed by Susan Stroman.
In 1968 Mel Brooks won a surprising Oscar for his screenplay, The Producers, a potentially controversial comedy which ran the risk of bad taste (and won) and of upsetting Jewish and other sensibilities about Hitler and World War II. But, Brooks, taking a cue from Chaplin’s mockery of his look-alike, Hitler, in The Great Dictator, has always thought that an effective way of attacking is by satire and mockery – making a fool of Hitler. So, not only did The Producers pay off, it moved Brooks from a TV writer and performer to a screen director and actor for almost three decades.
Well, when The Producers was turned into a Broadway show, a musical comedy, it lacked the surprise element of the earlier film. On the other hand, it now had a bigger, brighter and more lavish opportunity to flaunt its satire and mockery – and was an award-winning success. There was a version of the jaw-dropping Springtime for Hitler song and dance routine in 1968. But, now, along with some other spoofing songs, it is a show-stopper.
But, not quite. That, of course, is the intention of impresario, Max Biallystock and his mousy accountant, Leopold Bloom. By raising huge money for a huge show and its closing after opening night, their literal understanding of show-stopper, the loss means that they don’t have to pay back investors. When people start to walk out of Springtime, disgusted, someone suggests it is a send-up. The audience returns to their seats and they applaud it. Success – and disaster for the producers.
Mel Brooks has made some very funny films (Blazing Saddles – even with its Warner Brothers lot musical extravaganza finale – Young Frankenstein, High Anxiety, History of the World Part I). But, he loves to makes jokes in bad taste. The usual word is ‘outrageous’. And there is no let up here in the vulgar, the innuendo and the just plain corny. He is no Noel Coward but he has ‘a talent to amuse’.
The film version of the Broadway show is quite theatrical in style (from the theatre’s director, Susan Stroman). In many ways (too many ways?), it is a widescreen close-up of the musical. Much of the acting and enunciation could seem over-acting. Rather, it is hyper-acting. Nathan Lane and Matthew Broderick are re-creating their stage performances. Uma Thurman, surprising with her singing and dancing, is just right as Ula. The camp aspects are played to the hilt (or wherever), mocking the gay theatrical culture flamboyantly. Gary Beach is in-your-face memorable as the director/actor. Will Ferrell does a funny turn as dumb Nazi loyalist.
Which brings us back to the Hitler theme. Those who have suffered under tyrants need to draw desperately on a sense of humour when their tormentor is the stuff of comedy (like Iraqis who experienced Saddam Hussein while watching the South Park send-ups). But the Jewish Brooks proves that the sincerest form of attack is mockery.
1.1968, the film, Oscar for best screenplay? Mel Brooks and his writing and directing? The controversies, the war, the Holocaust? Bad taste? Mel Brooks and his theories of mockery of Hitler and the Third Reich? The film becoming a cult film?
2.The success of the theatrical production, Mel Brooks and his writing the book, music and lyrics? The awards?
3.The film as a close-up version of the theatrical event? The wide screen, the close-ups, hyperacting? The choreography?
4.The humour of the film: the jokes, Brooks taking risks as regards taste? Jewish sensibilities (and his own Jewish background)? The mockery and making a fool of Hitler? Mocking theatrical personalities, their pretensions? Producers and their schemes? The casting couch? Camp and gay sensibilities in the theatre? Flamboyance? The risque jokes, innuendo, the clever and corny jokes?
5.The choreography, costumes, décor – and the exaggerated style for humour and spoof?
6.The songs: the usherettes and the Opening Night song? Leo and Max with We Can Do It and Leo and his office song as well as I Want to Be a Producer; the encounter with Liebkind and his singing of Der Guten The Clop; the gay entourage and Keep it Gay; Ulla and When You Got It, Flaunt It; Leo and his singing That Face for Ulla; the old ladies singing Along Came Bialy; Liebkind and the Deutsche Band: You Never Say Good Luck on Opening Night; the performance of Springtime for Hitler in Germany and Heil Myself; the final songs, Betrayed, Till Him? And the grand finale with the prisoners in Sing Sing?
7.Nathan Lane’s award-winning performance as Max Bialystock – both shady and endearing, ambitious, greedy, the money, the schemes? The failure of Funny Boy, the musical version of Hamlet? The notices for his other plays, King Leer and The Breaking Wind? His getting a fright with Leo, attacking him? Listening to his scheme? The decision to go into action, his explanations, the raising money from the ladies? The old lady with Touch Me, Feel Me? His conning the old ladies? The interview with the director and the encounter with the camp group? The meeting with Liebkind on the roof, the difficulties, wearing the swastikas, the oath? The auditions and the poor Hitlers? Liebkind and his singing? The build-up to the performance, hoping for the failure, the applause, the dismay with the reviews? His arrest, in prison, feeling betrayed, going to the court, his speeches, Leo’s arrival, the reconciliation? Serving their time in Sing Sing – and getting all the money for the promotion of the musical?
8.Leo, Matthew Broderick’s award-winning performance? The mousy type, his shyness, eccentric tics, phobias, his comfort blanket? His explanation of the plan? Watching Max with the old lady? Going to work, reading all the plays, becoming exhausted? Springtime for Hitler? The contrast with his life in the office, the office song with the men all in unison with their machines – and John Lovatz as the boss and his dismissing Leo? The auditions? Going to visit Liebkind? Partly neurotic? Joining in the songs, with the gay group? The audition of Ulla, attracted towards her, the relationship? The failure, going to Rio with Ulla, the postcard, the happy times in Rio, every luxury – but returning to the court, giving himself up? Till Him and the reuniting with Max? Their deals in Sing Sing?
9.Liebkind, insane, his helmet, the singing pigeons? His talking to them? On the roof, his song, the lederhosen, the hats, the oath, the swastikas? The auditions and his doing the Hitler song? His devotion to Hitler, denial of anything bad about him? Rushing in to perform, breaking his leg? His later denials that he had anything to do with the Nazis?
10.Ulla, Uma Thurman and her strong presence, her appearance, costumes? The song and and dance, Flaunting It? As secretary, painting the whole office white? Her understanding the scheme? Her love for Leo, their relationship? The proper relationship? The performance, her role in the play? Going to Rio, marrying Leo, returning with him?
11.The old ladies, their being similarly dressed, appearance? Their song and dance with their supports walking through the streets of New York? High kicks? Their presence in the court case and always supporting Max?
12.The camp director, his dress, his entourage, his introduction of his team, his social secretary and the exaggerated camp? Keep it Gay? The director and the rehearsals? The opening night, their all afraid of saying good luck? Liebkind breaking his leg, the director being persuaded to go on – the performance of a lifetime? His enjoying it?
13.The court case, the judge, his bemused presence, his verdicts? The jury?
14.Max and Leo in prison – and the inmates all performing, getting shares in the production – including the warden? Production all over again?
