The Twelve Chairs is not one of Mel Brooks's funniest comedies, but then again it IS a Russian based comedy, where big laughs are as hard to find as a tropical climate. This film does, however, display the director actually able to really tell a good story, and act as storyteller with characters in a plot to care about. If it is not really as successful as his other films though it is in this- I didn't really have a BIG laugh during the length of the 90 minute running time. I note this not because it is a laugh-less comedy, as I had good chuckles, grins, and smiles at the material presented.
But in most of Brooks's films, even when the structure is held on a thread of sketches and bits, they become the funniest in modern movies. This time there is actually a lot of reverence to the early 20th century Russian times, even as there are some moments when the irreverence Brooks is best at pops up. Perhaps if you're die-hard into Russian history it might serve more for the in-jokes and the well-captured reality of the times.
The acting is good, and the main cast is well placed, even if too not the best work is turned in. Frank Langella is definitely very good as the straight 'handsome desperado' character to Ron Moody's crazy old man, as he is an actor who maybe pulls out one good joke in the film. Moody meanwhile delivers some of the funniest moments just based on the delirious, if repetitive, bits on his face and in his unwavering dedication to the jewels stuck in the chair. It is Dom De Louise, on the other hand, who comparatively to other work he's done (primarily Brooksfilm work where he's genius in bit parts), as he really has to rely mostly on physical gags more than hysterical dialog.
It becomes a running gag as the most desperate quack of the three hunting for the chair, and only intermittently (mostly when he tries to get the chairs from a husband and wife on a wild goose chase) is funny. And possibly some of the most memorable bits come with Brooks himself as the dim, clumsy but well-intentioned servant to Moody. One almost wishes he might pop up unexpectedly later in the film just as a brilliant goof.
This is not to say I wasn't glad to finally see the often under-seen film in Brooks's oeuvre. It's certainly a good notch above the worst the director's done (Life Stinks and Dracula Dead and Loving It), where unlike those unfortunate moments he doesn't shoot for jokes and gags and puns that just don't work. Here they do, and they're juxtaposed with a story that allows for some good tongue-in-cheek moments(including a few smart moments when people chase each other in sped-up silent-film comedy style), while with a dramatic adventure story. There's even one or two moments where Brooks reveals a fine cinematic eye for the real locations on the character's travels.
At the end, I felt I hadn't seen the great sleeper of a career, but a fun enough romp that has good intentions for something different- and what's more 'different' than a comedy set in Russia.
But in most of Brooks's films, even when the structure is held on a thread of sketches and bits, they become the funniest in modern movies. This time there is actually a lot of reverence to the early 20th century Russian times, even as there are some moments when the irreverence Brooks is best at pops up. Perhaps if you're die-hard into Russian history it might serve more for the in-jokes and the well-captured reality of the times.
The acting is good, and the main cast is well placed, even if too not the best work is turned in. Frank Langella is definitely very good as the straight 'handsome desperado' character to Ron Moody's crazy old man, as he is an actor who maybe pulls out one good joke in the film. Moody meanwhile delivers some of the funniest moments just based on the delirious, if repetitive, bits on his face and in his unwavering dedication to the jewels stuck in the chair. It is Dom De Louise, on the other hand, who comparatively to other work he's done (primarily Brooksfilm work where he's genius in bit parts), as he really has to rely mostly on physical gags more than hysterical dialog.
It becomes a running gag as the most desperate quack of the three hunting for the chair, and only intermittently (mostly when he tries to get the chairs from a husband and wife on a wild goose chase) is funny. And possibly some of the most memorable bits come with Brooks himself as the dim, clumsy but well-intentioned servant to Moody. One almost wishes he might pop up unexpectedly later in the film just as a brilliant goof.
This is not to say I wasn't glad to finally see the often under-seen film in Brooks's oeuvre. It's certainly a good notch above the worst the director's done (Life Stinks and Dracula Dead and Loving It), where unlike those unfortunate moments he doesn't shoot for jokes and gags and puns that just don't work. Here they do, and they're juxtaposed with a story that allows for some good tongue-in-cheek moments(including a few smart moments when people chase each other in sped-up silent-film comedy style), while with a dramatic adventure story. There's even one or two moments where Brooks reveals a fine cinematic eye for the real locations on the character's travels.
At the end, I felt I hadn't seen the great sleeper of a career, but a fun enough romp that has good intentions for something different- and what's more 'different' than a comedy set in Russia.