Comedies have always been Richard Kind‘s bread and butter. With memorable roles in shows like Spin City, Mad About You, Curb Your Enthusiasm, The Other Two, and now the Night Court reboot, the 67-year-old star has long been one of the industry’s best character actors. But he tells TV Insider that he craves his chance at a dramatic turn like his Spin City co-star/longtime friend Alan Ruck, who showed his dramatic chops in the incomparable HBO series Succession. After being “raised” on the original Night Court and long admiring John Larroquette‘s performance as Dan Fielding, Kind made his Night Court debut in Season 2 Episode 7 on Tuesday, February 13 on NBC. He plays Sy Feldman, a disgraced Broadway producer who’s in legal trouble over faulty investments in his failed shows. The character is a lot like Max Bialystok of The Producers, whom Kind played on Broadway in 2004 opposite Ruck as Leo Bloom.
- 2/14/2024
- TV Insider
This enjoyable meta-level adaptation of Percival Everett’s 2001 novel Erasure tackles black-victimhood stereotypes, showcasing Jeffrey Wright and Issa Rae as rival writers
Thelonious “Monk” Ellison is a middle-aged black humanities professor in Los Angeles, roundly disliked by students and faculty colleagues, who is the author of many intellectually demanding and commercially disastrous novels based on classical myth. Depressed by his career and by money worries – including an elderly mother needing residential care for dementia – Monk is finally triggered by the bestselling triumph of a new novel by black author Sintara Golden, entitled We’s Lives in da Ghetto, which apparently panders to all the illiterate black-victimhood cliches beloved of white cultural gatekeepers. Enraged, Monk writes a spoof hood-violence novel, My Pafology, by the supposed convicted felon Stagg R Leigh, and sends it to his agent, assuming the obvious crassness will signal its satirical intent. But then … well, those acquainted with...
Thelonious “Monk” Ellison is a middle-aged black humanities professor in Los Angeles, roundly disliked by students and faculty colleagues, who is the author of many intellectually demanding and commercially disastrous novels based on classical myth. Depressed by his career and by money worries – including an elderly mother needing residential care for dementia – Monk is finally triggered by the bestselling triumph of a new novel by black author Sintara Golden, entitled We’s Lives in da Ghetto, which apparently panders to all the illiterate black-victimhood cliches beloved of white cultural gatekeepers. Enraged, Monk writes a spoof hood-violence novel, My Pafology, by the supposed convicted felon Stagg R Leigh, and sends it to his agent, assuming the obvious crassness will signal its satirical intent. But then … well, those acquainted with...
- 1/31/2024
- by Peter Bradshaw
- The Guardian - Film News
Gene Wilder is rightfully remembered fondly for his performance as Willy Wonka. However, the comedic actor’s career is the stuff of legends, thanks to his collaborations with legendary comedian Richard Pryor, as well as starring in Mel Brooks classics like The Producers, Blazing Saddles and Young Frankenstein. The beloved actor has a new documentary that tells the story of his life from filmmaker Ron Frank. The film, Remembering Gene Wilder, has just picked up distribution from Kino Lorber, which has planned the movie’s release for this March.
According to Deadline, the documentary “touches on the actor’s Jewish upbringing in Milwaukee, marriage to Gilda Radner, and his final chapter living with Alzheimer’s. It will include never-seen-before home movie footage, narration by Wilder from the audiobook of his memoir, and interviews with collaborators including Mel Brooks, Alan Alda, Carol Kane, and his widow Karen Boyer Wilder.
Directed by...
According to Deadline, the documentary “touches on the actor’s Jewish upbringing in Milwaukee, marriage to Gilda Radner, and his final chapter living with Alzheimer’s. It will include never-seen-before home movie footage, narration by Wilder from the audiobook of his memoir, and interviews with collaborators including Mel Brooks, Alan Alda, Carol Kane, and his widow Karen Boyer Wilder.
Directed by...
- 1/11/2024
- by EJ Tangonan
- JoBlo.com
Exclusive: Kino Lorber has acquired all rights worldwide to Ron Frank’s documentary Remembering Gene Wilder, a portrait of the life and career of the beloved actor and comedian.
Featuring highlights from Wilder’s most memorable films as well as interviews with his closest friends, family, and fellow comics, the film will next play as the Closing Night movie of the New York Jewish Film Festival on January 24.
Kino Lorber is planning a theatrical release in March 2024, followed by a home video, non-theatrical, and digital release.
Wilder, who died in 2016, is best known for his collaborations with Mel Brooks in The Producers, Young Frankenstein, and Blazing Saddles, his partnership with Richard Pryor in movies like Silver Streak and Hear No Evil, See No Evil, and his performance as the mysterious chocolatier in Willy Wonka and the Chocolate Factory.
The doc touches on the actor’s Jewish upbringing in Milwaukee, marriage to Gilda Radner,...
Featuring highlights from Wilder’s most memorable films as well as interviews with his closest friends, family, and fellow comics, the film will next play as the Closing Night movie of the New York Jewish Film Festival on January 24.
Kino Lorber is planning a theatrical release in March 2024, followed by a home video, non-theatrical, and digital release.
Wilder, who died in 2016, is best known for his collaborations with Mel Brooks in The Producers, Young Frankenstein, and Blazing Saddles, his partnership with Richard Pryor in movies like Silver Streak and Hear No Evil, See No Evil, and his performance as the mysterious chocolatier in Willy Wonka and the Chocolate Factory.
The doc touches on the actor’s Jewish upbringing in Milwaukee, marriage to Gilda Radner,...
- 1/11/2024
- by Andreas Wiseman
- Deadline Film + TV
"Only Murders in the Building" season 3 has a few songs in its heart. A musical theatre aficionado will have a ball with season 3 of "Only Murders in the Building," thanks to Oliver Putnam (Martin Short) converting his outlandish murder-mystery play "Death Rattle" into a musical.
While the trio are solving yet another murder, this season is brimming with musical references. In season 3, episode 2, a recuperating Putnam hallucinates his loved ones performing a pastiche of "There'll Be Some Changes Made" from the Bob Fosse-directed "All That Jazz." It's a cutting reference because said musical film, especially this particular number, metatextually tackles the director's heart attack. It deals with mortal self-flagellation, both for Fosse and in-universe for Fosse's fictional avatar.
In contrast, the show also applies a more lighthearted reference to "The Producers" that complements Oliver's pursuits. After a falling out with his friend Charles Haden-Savage (Steve Martin), Oliver needs a replacement for the Investigator.
While the trio are solving yet another murder, this season is brimming with musical references. In season 3, episode 2, a recuperating Putnam hallucinates his loved ones performing a pastiche of "There'll Be Some Changes Made" from the Bob Fosse-directed "All That Jazz." It's a cutting reference because said musical film, especially this particular number, metatextually tackles the director's heart attack. It deals with mortal self-flagellation, both for Fosse and in-universe for Fosse's fictional avatar.
In contrast, the show also applies a more lighthearted reference to "The Producers" that complements Oliver's pursuits. After a falling out with his friend Charles Haden-Savage (Steve Martin), Oliver needs a replacement for the Investigator.
- 9/12/2023
- by Caroline Cao
- Slash Film
Which is Mel Brooks's best movie: "Blazing Saddles" or "Young Frankenstein?" "Blazing Saddles" has social relevancy, fart jokes, and a truly bonkers final act. But "Young Frankenstein" has neighing horses, rolling in the hay, "Putting on the Ritz," and the most excruciating meal of soup in the history of cinema. Every scene in "Young Frankenstein" is gangbusters, and every lowbrow gag sings. The movie even looks pretty good, emulating the expressionist appeal of James Whale's original "Frankenstein" films. Brooks went on to make many more features, including "Spaceballs," but, for me, none live up to the simple pleasures of "Young Frankenstein."
There's one small catch though, which is that "Young Frankenstein" didn't actually begin with Brooks. The seed of the film was planted by none other than the actor Gene Wilder. Brooks had earlier invited Wilder to star in "The Producers," where he played the aspiring producer, Leo Bloom.
There's one small catch though, which is that "Young Frankenstein" didn't actually begin with Brooks. The seed of the film was planted by none other than the actor Gene Wilder. Brooks had earlier invited Wilder to star in "The Producers," where he played the aspiring producer, Leo Bloom.
- 11/20/2022
- by Adam Wescott
- Slash Film
It's hard not to love Gene Wilder. Even if you can name only a few of his films, whenever he appeared on screen, he brought a sense of joy and mischief. His sly smile and piercing blue eyes always made you think he knew something you didn't, but he was always keen to slowly let you in on the joke. Whether in his iconic performance as the titular candy maker in "Willy Wonka and the Chocolate Factory" or in his later (and final) role on the NBC sitcom "Will & Grace," there was something about Wilder that brought a smile, along with a whole lot of genuine belly laughs.
While Wilder could sell any joke on the page, it was the seriousness with which he took each role that elevated the material, particularly in his multiple collaborations with Mel Brooks. One of the reasons "Young Frankenstein" has endured as one...
While Wilder could sell any joke on the page, it was the seriousness with which he took each role that elevated the material, particularly in his multiple collaborations with Mel Brooks. One of the reasons "Young Frankenstein" has endured as one...
- 11/8/2022
- by Jeff Kelly
- Slash Film
Actor Gene Wilder and writer/director Mel Brooks had a blessed relationship, and the two of them collaborated on three of the funniest comedies of all time. In "The Producers" (1967), Wilder plays the nebbish Leo Bloom, a fearful, meticulous, and very shy accountant who is convinced by con man Max Bialystock to come out of his shell. In so doing, he is also convinced to cook the books for a flop Broadway show and embezzle the earnings. In "Blazing Saddles," Wilder plays Jim, a.k.a. The Waco Kid, a once-legendary gunfighter who has fallen into alcoholism. In "Young Frankenstein," Wilder finally took the lead, playing the embarrassed grandson of horror's famed corpse-reanimator who returns to an inherited castle to pick up the family line. Had Brooks and Wilder never made any additional films, they would still be considered invaluable cinematic geniuses for those movies alone.
As it so happens,...
As it so happens,...
- 11/5/2022
- by Witney Seibold
- Slash Film
You know him as Willy Wonka, the Waco Kid, a Frankenstein heir, and perhaps Skip Donahue. Whatever the role, Gene Wilder had a knack for burrowing into the hearts of audiences all over the world. Over several decades, the Milwaukee-born multi-hyphenate endeared scores of fans to his work in now-classic films like "The Producers," "Silver Streak," "Young Frankenstein," and "Blazing Saddles," each time lighting up the screen with natural absurdity and poignant emotional warmth.
Wilder's longtime collaboration with Mel Brooks began with the filmmaker's directorial debut, the 1967 comedy "The Producers," wherein Wilder plays neurotic accountant Leo Bloom and earned a Best Supporting Actor Oscar nomination for his performance. His most iconic role, as eccentric candyman Willy Wonka, came in 1971, just a few years before teaming up with Brooks again for his 1974 comedy-western "Blazing Saddles," filling the role of the boozy Waco Kid.
It was during the final weeks of shooting...
Wilder's longtime collaboration with Mel Brooks began with the filmmaker's directorial debut, the 1967 comedy "The Producers," wherein Wilder plays neurotic accountant Leo Bloom and earned a Best Supporting Actor Oscar nomination for his performance. His most iconic role, as eccentric candyman Willy Wonka, came in 1971, just a few years before teaming up with Brooks again for his 1974 comedy-western "Blazing Saddles," filling the role of the boozy Waco Kid.
It was during the final weeks of shooting...
- 8/22/2022
- by Anya Stanley
- Slash Film
Exclusive: Jay Duplass (The Chair), Sonny Poon Tip (Holby City) and Katrine De Candole (Crow) are set as new series regulars opposite Myha’la Herrold for Season 2 of HBO/BBC’s investment banking drama Industry, from creators Mickey Down and Konrad Kay.
Industry, produced by Bad Wolf, gives an insider’s view of the blackbox of “high finance” through the eyes of an outsider, Harper Stern (Herrold), a talented young woman from upstate New York. Following a group of young grads fueled by ambition, youth, romance and drugs, the series examines issues of gender, race, class and privilege in the workplace as these impressionable young minds begin to forge their identities within the pressure-cooker environment and sensory blitz of Pierpoint & Co’s trading floor, where meritocracy is promised but hierarchy is king.
Duplass will play Jesse Boom, a reputable hedge fund manager who has just emigrated to the UK. Poon Tip will portray Leo Bloom,...
Industry, produced by Bad Wolf, gives an insider’s view of the blackbox of “high finance” through the eyes of an outsider, Harper Stern (Herrold), a talented young woman from upstate New York. Following a group of young grads fueled by ambition, youth, romance and drugs, the series examines issues of gender, race, class and privilege in the workplace as these impressionable young minds begin to forge their identities within the pressure-cooker environment and sensory blitz of Pierpoint & Co’s trading floor, where meritocracy is promised but hierarchy is king.
Duplass will play Jesse Boom, a reputable hedge fund manager who has just emigrated to the UK. Poon Tip will portray Leo Bloom,...
- 3/8/2022
- by Denise Petski
- Deadline Film + TV
The Producers
Blu ray
Kino Lorber
1967 / 1.85:1 / 88 min.
Starring Zero Mostel, Gene Wilder
Cinematography by Joseph Coffey
Directed by Mel Brooks
At his most unrestrained, Mel Brooks would have made Voltaire blush. Would such uninhibited comedy survive under the gaze of today’s self-appointed blacklisters? The answer can be found in the success of that very uninhibited Amazon darling—not to mention Academy-approved—Borat Subsequent Moviefilm. Starring Sacha Baron Cohen, the film documents the latest diplomatic outreach of Kazakhstan’s most enthusiastic xenophobe, Borat Sagdiyev. For the past twenty five years Cohen has sicced this deeply racist, anti-Semitic, and somehow weirdly lovable doofus on civilization’s bad actors up to and including bottom-feeder extraordinaire, Donald Trump. Cohen infiltrated much of Maga-world for Borat’s latest adventure which was highlighted by a full-body impersonation of Trump (in a Coppertone-colored skin suit), and a hotel room encounter with the slimy Rudolph Giuliani at his most slithery.
Blu ray
Kino Lorber
1967 / 1.85:1 / 88 min.
Starring Zero Mostel, Gene Wilder
Cinematography by Joseph Coffey
Directed by Mel Brooks
At his most unrestrained, Mel Brooks would have made Voltaire blush. Would such uninhibited comedy survive under the gaze of today’s self-appointed blacklisters? The answer can be found in the success of that very uninhibited Amazon darling—not to mention Academy-approved—Borat Subsequent Moviefilm. Starring Sacha Baron Cohen, the film documents the latest diplomatic outreach of Kazakhstan’s most enthusiastic xenophobe, Borat Sagdiyev. For the past twenty five years Cohen has sicced this deeply racist, anti-Semitic, and somehow weirdly lovable doofus on civilization’s bad actors up to and including bottom-feeder extraordinaire, Donald Trump. Cohen infiltrated much of Maga-world for Borat’s latest adventure which was highlighted by a full-body impersonation of Trump (in a Coppertone-colored skin suit), and a hotel room encounter with the slimy Rudolph Giuliani at his most slithery.
- 5/18/2021
- by Charlie Largent
- Trailers from Hell
The cast of Sierra Burgess Is a Loser is filled to the brim with familiar faces. Its star, Shannon Purser, is better known as Stranger Things's beloved, beleaguered Barb. The actress playing her mother, Lea Thompson, is a Hollywood legend in her own right. And, of course, the leading man is none other than the internet's Summer obsession, Noah Centineo. These actors have been in some of the most talked-about projects of the past few decades. But it turns out they're not the only ones: Alan Ruck, who plays Sierra's dad, has an iconic role under his belt too.
In the 1980s, Ruck broke onto the scene alongside members of the "Brat Pack." He costarred with Sean Penn and Ally Sheedy in 1983's Bad Boys and with Andrew McCarthy and John Cusack in Class. Although his roles in these movies were supporting ones, they gave him steady work and...
In the 1980s, Ruck broke onto the scene alongside members of the "Brat Pack." He costarred with Sean Penn and Ally Sheedy in 1983's Bad Boys and with Andrew McCarthy and John Cusack in Class. Although his roles in these movies were supporting ones, they gave him steady work and...
- 9/14/2018
- by Amanda Prahl
- Popsugar.com
To celebrate the 50th anniversary release of Mel Brooks’ comedy classic The Producers in cinemas on August 5th for one day only, we’re giving you the chance to win a limited edition The Producers poster and classic cinema Blu-ray bundle, including The Graduate, Kind Hearts And Coronets and Playtime.
Max Bialystock (Zero Mostel) is a washed up Broadway producer forced to romance old ladies to finance his plays. When timid accountant Leo Bloom (Gene Wilder) is brought in to do his books, he inadvertently reveals to Bialystock that under the right circumstances, a producer could make more money with a flop than a hit. Bialystock cajoles Bloom into helping him achieve this end and together they come up with what they consider to be a sure-fire disaster waiting to happen – a musical version of Adolf and Eva’s love story entitled ‘Springtime For Hitler’. But is it possible that...
Max Bialystock (Zero Mostel) is a washed up Broadway producer forced to romance old ladies to finance his plays. When timid accountant Leo Bloom (Gene Wilder) is brought in to do his books, he inadvertently reveals to Bialystock that under the right circumstances, a producer could make more money with a flop than a hit. Bialystock cajoles Bloom into helping him achieve this end and together they come up with what they consider to be a sure-fire disaster waiting to happen – a musical version of Adolf and Eva’s love story entitled ‘Springtime For Hitler’. But is it possible that...
- 8/7/2018
- by Competitions
- HeyUGuys.co.uk
Like a parody of Brexit Britain, never has the 1967 comedy been more horribly pertinent than it is now
Each time I’ve watched it – and I’ve watched it many times – Mel Brooks’ The Producers has felt horribly pertinent to the present moment. One year, I found it a poignantly contemporary paean to postmodern irony; another year, it was an agonisingly topical satire of the American dream and success über alles.
But with its latest rerelease, it has never been so relevant than now, in the era of what Donald Trump calls “Brexit plus plus plus”. Those rackety campaigners Boris Johnson and Michael Gove in the back of the Vote Leave bus resembled no one as much as Max Bialystock and Leo Bloom, but without the charm. Could it be that they did not seriously expect or want Brexit to succeed, but figured their quixotic referendum failure would tickle the malcontent right,...
Each time I’ve watched it – and I’ve watched it many times – Mel Brooks’ The Producers has felt horribly pertinent to the present moment. One year, I found it a poignantly contemporary paean to postmodern irony; another year, it was an agonisingly topical satire of the American dream and success über alles.
But with its latest rerelease, it has never been so relevant than now, in the era of what Donald Trump calls “Brexit plus plus plus”. Those rackety campaigners Boris Johnson and Michael Gove in the back of the Vote Leave bus resembled no one as much as Max Bialystock and Leo Bloom, but without the charm. Could it be that they did not seriously expect or want Brexit to succeed, but figured their quixotic referendum failure would tickle the malcontent right,...
- 8/1/2018
- by Peter Bradshaw
- The Guardian - Film News
“A producer can make more money with a flop than with a hit!”
To celebrate its 50th anniversary, Mel Brooks’ 1968 classic comedy The Producers is getting a rerelease on the big screen, and for one night only. After a famously troubled and controversial premiere in 1968, the film has since evolved from cult classic status to being regarded as one of the greatest comedies ever made. In 1996, The Producers became an official selection of preservation by the National Film Registry, and in 2001 it placed 11th on AFI’s list of all-time best comedies. To celebrate the film’s seemingly evergreen cinematic footprint, following a U.S. event earlier this month, TCM will be releasing The Producers into U.K. cinemas on August 5th.
The film follows failing theater producer Max Bialystock, played by the great Zero Mostel, as he juggles multiple courtships with wealthy older women in order to remain financially supported.
To celebrate its 50th anniversary, Mel Brooks’ 1968 classic comedy The Producers is getting a rerelease on the big screen, and for one night only. After a famously troubled and controversial premiere in 1968, the film has since evolved from cult classic status to being regarded as one of the greatest comedies ever made. In 1996, The Producers became an official selection of preservation by the National Film Registry, and in 2001 it placed 11th on AFI’s list of all-time best comedies. To celebrate the film’s seemingly evergreen cinematic footprint, following a U.S. event earlier this month, TCM will be releasing The Producers into U.K. cinemas on August 5th.
The film follows failing theater producer Max Bialystock, played by the great Zero Mostel, as he juggles multiple courtships with wealthy older women in order to remain financially supported.
- 6/19/2018
- by The Film Stage
- The Film Stage
We are in the throngs of springtime so it can only mean one thing: it’s time to celebrate the 50th anniversary of one of movie history’s funniest–and controversial–cult comedies turned classics, The Producers. Returning to nationwide movie theaters for two days only, Sunday, June 3, and Wednesday, June 6 at 2:00 p.m. and 7:00 p.m. (local time), Fathom Events, Turner Classic Movies and Rialto Pictures are bringing back the Mel Brooks‘ comedy masterpiece in a brand-new 4K restoration (at select theaters) so that moviegoers can properly laugh, groan, and laugh again at washed up Broadway producer Max Bialystock (Zero Mostel) and his neurotic accountant Leo Bloom (Gene Wilder) as they attempt and epically fail at cashing in on a seemingly surefire flop: a musical extravaganza singing the praises of the Third Reich.
The shock-inducing, rib-tickling Springtime for Hitler becomes an unexpected and unfortunate smash hit, and...
The shock-inducing, rib-tickling Springtime for Hitler becomes an unexpected and unfortunate smash hit, and...
- 5/14/2018
- by Tom Stockman
- WeAreMovieGeeks.com
‘The Producers’ Turns 50: Mel Brooks Explains Why His Subversive Comedy Is Still Relevant — TCM Fest
Without “The Producers,” there might never have been “Blazing Saddles,” “Young Frankenstein,” and “Spaceballs.” And yet Mel Brooks’ movie debut (which earned him the Oscar for Best Original Screenplay) was the most original work of his career, combining subversive humor with a tender bromance between Zero Mostel’s Max Bialystock and Gene Wilder’s Leo Bloom. This was no genre bender, but it was a cultural assault on fascism and complacency, and it was ahead of its time in elevating the Lgbt artistic community.
In honor of its 50th anniversary, “The Producers” opens the TCM Classic Film Festival Thursday night at the Chinese Theater IMAX in Hollywood with a digital 4k restoration courtesy by Studiocanal. For the 91-year-old Brooks, the cult favorite-turned comedy classic was a miracle that launched his celebrated film career as writer-director.
“It was very simple: You can make more money with a flop than with a hit,...
In honor of its 50th anniversary, “The Producers” opens the TCM Classic Film Festival Thursday night at the Chinese Theater IMAX in Hollywood with a digital 4k restoration courtesy by Studiocanal. For the 91-year-old Brooks, the cult favorite-turned comedy classic was a miracle that launched his celebrated film career as writer-director.
“It was very simple: You can make more money with a flop than with a hit,...
- 4/25/2018
- by Bill Desowitz
- Indiewire
Perhaps the most telling thing about "The Producers", the film version of Mel Brooks' Broadway musical hit based on his celebrated 1968 film comedy, is that the best two performances belong to Uma Thurman, as a Swedish smorgasbord of feminine delights known as Ulla, and Will Ferrell, as unrepentant Nazi playwright Franz Liebkind. For the film to work, though, the two best roles should belong to Tony-winning Nathan Lane and Matthew Broderick in the title roles.
Lane and Broderick have played these roles 300-and-something times, and it shows. All of their gestures, grimaces, songs, dances and action have a tired, over-rehearsed quality. Worse, theirs is broad, physical shtick conceived for balcony seats in a theater. Neither actor has rethought his performance for the screen.
This "Producers", shot almost entirely on soundstages with only a few Manhattan exteriors, represents a historical record of the popular stage show, which earned 12 Tonys. Universal and Columbia Pictures can expect modest boxoffice business from fans of the musical and the fondly remembered original film, but this means an older audience, one more likely to catch up with the film on DVD.
The new film has an additional handicap. While the reputation of the original film has possibly outstripped its actual artistic achievements, there is no question that the film did contain two insanely talented comedy performers at the top of their game: the late Zero Mostel as morally bankrupt and fading Broadway producer Max Bialystock and Gene Wilder as the exceptionally neurotic accountant Leo Bloom. No pair of actors, not even those as gifted as Lane and Broderick, can withstand comparison to the manic inventiveness of the originals.
The story, save for minor tinkering, remains the same. Max's Broadway career has hit such a low ebb that he must raise money by romancing rich old ladies. When timid and nervous Leo goes over Max's pathetic financial records, he inadvertently hits upon a infallible way to make a fortune on Broadway: Raise more money than you need to stage an intentional flop. No investor will want to examine the books for a turkey, so you pocket the difference.
The two come up with a sure-fire flop: a lighthearted, revisionist musical about the Nazi era, "Springtime for Hitler". They swiftly secure the rights from the show's pigeon-raising author Franz (Ferrell in sweetly controlled craziness), then hire the worst director imaginable. This would be Roger De Bris (a hilarious Gary Beach), who prefers to wear dresses and, along with his assistant Carmen Ghia (Roger Bart), believes the key to everything is "Keep It Gay".
As a perk justified by their certain success -- er, failure -- the two producers hire Ulla (Thurman), a luscious blond actress, as their secretary-receptionist. This turns out to be a perk for audiences as well because Uma does Ulla like nobody's business. In her audition number, "When You've Got It, Flaunt It", Thurman puts the voom back into va-va-va-voom and soon has girl-shy Leo's head spinning.
For that matter, all of Brooks' musical numbers, including the catchy "Springtime for Hitler" from the original film, are clever and fun. Brooks might have had a fine career as a Broadway songwriter and lyricist if he hadn't chosen to become an award-winning film producer, writer, director and actor.
Understandably, Brooks wanted to turn directing reins over to someone else for this second "Producers". But tapping Susan Stroman, the director and choreographer of the original stage musical, was a mistake. The film needed fresh eyes and an experienced filmmaker to reconceptualize "The Producers" for the screen.
Her dances, the artificial sets (by Mark Weisberg) and bright costumes (by William Ivey Long) all are terrific if this were a stage show, but unfortunately, it's a movie. John Bailey and Charles Minsky's cameras never quite hit upon a style or movements that might invigorate a stage show the way Stephen Goldblatt did for "Rent".
"The Producers" is simply a missed opportunity.
THE PRODUCERS
Universal Pictures
Universal and Columbia Pictures present a Brooksfilm production
Credits:
Director-choreographer: Susan Stroman
Screenwriters: Mel Brooks, Thomas Meehan
Music-lyrics: Mel Brooks
Producers: Mel Brooks, Jonathan Sanger
Directors of photography: John Bailey, Charles Minsky
Production designer: Mark Friedberg
Co-producer: Amy Herman
Costumes: William Ivey Long
Editor: Steven Weisberg
Cast:
Max Bialystock: Nathan Lane
Leo Bloom: Matthew Broderick
Ulla: Uma Thurman
Franz Liebkind: Will Ferrell
Roger De Bris: Gary Beach
Carmen Chia: Roger Bart
Mr. Marks: Jon Lovitz
Hold Me-Touch Me: Eileen Essell
MPAA rating PG-13
Running time 134 minutes...
Lane and Broderick have played these roles 300-and-something times, and it shows. All of their gestures, grimaces, songs, dances and action have a tired, over-rehearsed quality. Worse, theirs is broad, physical shtick conceived for balcony seats in a theater. Neither actor has rethought his performance for the screen.
This "Producers", shot almost entirely on soundstages with only a few Manhattan exteriors, represents a historical record of the popular stage show, which earned 12 Tonys. Universal and Columbia Pictures can expect modest boxoffice business from fans of the musical and the fondly remembered original film, but this means an older audience, one more likely to catch up with the film on DVD.
The new film has an additional handicap. While the reputation of the original film has possibly outstripped its actual artistic achievements, there is no question that the film did contain two insanely talented comedy performers at the top of their game: the late Zero Mostel as morally bankrupt and fading Broadway producer Max Bialystock and Gene Wilder as the exceptionally neurotic accountant Leo Bloom. No pair of actors, not even those as gifted as Lane and Broderick, can withstand comparison to the manic inventiveness of the originals.
The story, save for minor tinkering, remains the same. Max's Broadway career has hit such a low ebb that he must raise money by romancing rich old ladies. When timid and nervous Leo goes over Max's pathetic financial records, he inadvertently hits upon a infallible way to make a fortune on Broadway: Raise more money than you need to stage an intentional flop. No investor will want to examine the books for a turkey, so you pocket the difference.
The two come up with a sure-fire flop: a lighthearted, revisionist musical about the Nazi era, "Springtime for Hitler". They swiftly secure the rights from the show's pigeon-raising author Franz (Ferrell in sweetly controlled craziness), then hire the worst director imaginable. This would be Roger De Bris (a hilarious Gary Beach), who prefers to wear dresses and, along with his assistant Carmen Ghia (Roger Bart), believes the key to everything is "Keep It Gay".
As a perk justified by their certain success -- er, failure -- the two producers hire Ulla (Thurman), a luscious blond actress, as their secretary-receptionist. This turns out to be a perk for audiences as well because Uma does Ulla like nobody's business. In her audition number, "When You've Got It, Flaunt It", Thurman puts the voom back into va-va-va-voom and soon has girl-shy Leo's head spinning.
For that matter, all of Brooks' musical numbers, including the catchy "Springtime for Hitler" from the original film, are clever and fun. Brooks might have had a fine career as a Broadway songwriter and lyricist if he hadn't chosen to become an award-winning film producer, writer, director and actor.
Understandably, Brooks wanted to turn directing reins over to someone else for this second "Producers". But tapping Susan Stroman, the director and choreographer of the original stage musical, was a mistake. The film needed fresh eyes and an experienced filmmaker to reconceptualize "The Producers" for the screen.
Her dances, the artificial sets (by Mark Weisberg) and bright costumes (by William Ivey Long) all are terrific if this were a stage show, but unfortunately, it's a movie. John Bailey and Charles Minsky's cameras never quite hit upon a style or movements that might invigorate a stage show the way Stephen Goldblatt did for "Rent".
"The Producers" is simply a missed opportunity.
THE PRODUCERS
Universal Pictures
Universal and Columbia Pictures present a Brooksfilm production
Credits:
Director-choreographer: Susan Stroman
Screenwriters: Mel Brooks, Thomas Meehan
Music-lyrics: Mel Brooks
Producers: Mel Brooks, Jonathan Sanger
Directors of photography: John Bailey, Charles Minsky
Production designer: Mark Friedberg
Co-producer: Amy Herman
Costumes: William Ivey Long
Editor: Steven Weisberg
Cast:
Max Bialystock: Nathan Lane
Leo Bloom: Matthew Broderick
Ulla: Uma Thurman
Franz Liebkind: Will Ferrell
Roger De Bris: Gary Beach
Carmen Chia: Roger Bart
Mr. Marks: Jon Lovitz
Hold Me-Touch Me: Eileen Essell
MPAA rating PG-13
Running time 134 minutes...
Pantages Theatre, Hollywood
Through Jan. 4
Mel Brooks' "The Producers" prances into town trailing clouds of glory and greenbacks.
With a $24 million advance sale in Los Angeles, a limited run of only eight months and a word-of-mouth to die for, the stampede for remaining tickets figures to be as energetic and unrelenting as the stampede for laughs onstage.
Make no mistake, this is a very funny show whose main objective is to make an audience laugh until it screams for mercy.
But this approach to humor carries a price: There's a driven quality to the writing, acting and staging that practically dares you not to laugh or, at the very least, drop your jaw in amazement at the tastelessly ridiculous (or ridiculously tasteless) goings-on.
For this reason, "The Producers" also is the sort of show that can jangle your nerves if all the elements aren't quite right. In the current production, Jason Alexander and Martin Short, as schlocky producer Max Bialystock and mousy accountant Leo Bloom, are the sticky wickets. Both actors work hard -- extremely hard -- at making sure they mine their parts for every available laugh. But as matters stand, this is one of those curious shows in which, after a while, you can't wait for the leads to get offstage so you can get back to the really funny characters or another spectacular staging.
The chief spectacle, of course, is Susan Stroman's brilliantly staged "Springtime for Hitler" number, a panoply of excess and caricature that unfolds like a beautifully twisted and hilarious cartoon. Since Hitler is now being played by the very gay director Roger De Bris (Gary Beach), you can imagine the possibilities; Brooks and Stroman certainly did.
Other highlights are any time Fred Applegate is onstage as Franz Liebkind, the crazed, Teutonic playwright whose godawful show Max and Leo are producing in hopes of making a fortune off its immediate failure. Franz has eight obedient pigeons on his rooftop, each sporting a Nazi wing-band. Josh Prince is a delight as Carmen Ghia, Roger's even gayer assistant, and Angie Schworer is Ulla, the Swedish bombshell who reduces both Max and Leo to jelly, whether she's spreading or not.
Alexander, after a nine-year stint as George Costanza on "Seinfeld", is a superb craftsman able to perform impeccable shtick for any occasion. But it takes more than a comic to do this part well, perhaps because the role has a certain amount of pathos hidden beneath the character's surface desperation and conniving. Alexander doesn't take us there.
Short comes up a little short in the nebbish department, another way of saying he's not that vulnerable and a bit too shtick-driven himself. The upshot is that there's not much chemistry between these two characters. The growing bond between the two loners is really the show's emotional spine, so without much happening there, we're left with a terrific string of vaudeville sketches, some clever songs (with generic melodies) from Brooks and eye-popping visuals. Not bad, but not so great, either.
THE PRODUCERS
Presented by Rocco Landesman, Clear Channel Entertainment, the Frankel-Baruch-Viertel-Routh Group, Bob and Harvey Weinstein, Rick Steiner, Robert FX Sillerman and Mel Brooks in association with James D. Stern/Douglas Meyer
Credits:
Playwright: Mel Brooks
Book: Mel Brooks, Thomas Meehan
Music and lyrics: Mel Brooks
Director-choreographer: Susan Stroman
Music superviser: Glen Kelly
Set designer: Robin Wagner
Lighting designer: Peter Kaczorowski
Costume designer: William Ivey Long
Sound designer: Steve Canyon Kennedy
Cast:
Max Bialystock: Jason Alexander
Leo Bloom: Martin Short
Franz Liebkind: Fred Applegate
Roger De Bris: Gary Beach
Carmen Ghia: Josh Prince
Ulla: Angie Schworer
Hold-me Touch-me: Nancy Johnston
Kevin: Michael Kostroff...
Through Jan. 4
Mel Brooks' "The Producers" prances into town trailing clouds of glory and greenbacks.
With a $24 million advance sale in Los Angeles, a limited run of only eight months and a word-of-mouth to die for, the stampede for remaining tickets figures to be as energetic and unrelenting as the stampede for laughs onstage.
Make no mistake, this is a very funny show whose main objective is to make an audience laugh until it screams for mercy.
But this approach to humor carries a price: There's a driven quality to the writing, acting and staging that practically dares you not to laugh or, at the very least, drop your jaw in amazement at the tastelessly ridiculous (or ridiculously tasteless) goings-on.
For this reason, "The Producers" also is the sort of show that can jangle your nerves if all the elements aren't quite right. In the current production, Jason Alexander and Martin Short, as schlocky producer Max Bialystock and mousy accountant Leo Bloom, are the sticky wickets. Both actors work hard -- extremely hard -- at making sure they mine their parts for every available laugh. But as matters stand, this is one of those curious shows in which, after a while, you can't wait for the leads to get offstage so you can get back to the really funny characters or another spectacular staging.
The chief spectacle, of course, is Susan Stroman's brilliantly staged "Springtime for Hitler" number, a panoply of excess and caricature that unfolds like a beautifully twisted and hilarious cartoon. Since Hitler is now being played by the very gay director Roger De Bris (Gary Beach), you can imagine the possibilities; Brooks and Stroman certainly did.
Other highlights are any time Fred Applegate is onstage as Franz Liebkind, the crazed, Teutonic playwright whose godawful show Max and Leo are producing in hopes of making a fortune off its immediate failure. Franz has eight obedient pigeons on his rooftop, each sporting a Nazi wing-band. Josh Prince is a delight as Carmen Ghia, Roger's even gayer assistant, and Angie Schworer is Ulla, the Swedish bombshell who reduces both Max and Leo to jelly, whether she's spreading or not.
Alexander, after a nine-year stint as George Costanza on "Seinfeld", is a superb craftsman able to perform impeccable shtick for any occasion. But it takes more than a comic to do this part well, perhaps because the role has a certain amount of pathos hidden beneath the character's surface desperation and conniving. Alexander doesn't take us there.
Short comes up a little short in the nebbish department, another way of saying he's not that vulnerable and a bit too shtick-driven himself. The upshot is that there's not much chemistry between these two characters. The growing bond between the two loners is really the show's emotional spine, so without much happening there, we're left with a terrific string of vaudeville sketches, some clever songs (with generic melodies) from Brooks and eye-popping visuals. Not bad, but not so great, either.
THE PRODUCERS
Presented by Rocco Landesman, Clear Channel Entertainment, the Frankel-Baruch-Viertel-Routh Group, Bob and Harvey Weinstein, Rick Steiner, Robert FX Sillerman and Mel Brooks in association with James D. Stern/Douglas Meyer
Credits:
Playwright: Mel Brooks
Book: Mel Brooks, Thomas Meehan
Music and lyrics: Mel Brooks
Director-choreographer: Susan Stroman
Music superviser: Glen Kelly
Set designer: Robin Wagner
Lighting designer: Peter Kaczorowski
Costume designer: William Ivey Long
Sound designer: Steve Canyon Kennedy
Cast:
Max Bialystock: Jason Alexander
Leo Bloom: Martin Short
Franz Liebkind: Fred Applegate
Roger De Bris: Gary Beach
Carmen Ghia: Josh Prince
Ulla: Angie Schworer
Hold-me Touch-me: Nancy Johnston
Kevin: Michael Kostroff...
- 5/30/2003
- The Hollywood Reporter - Movie News
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