Ahoy, squirts! Quint here with an interesting review of the film adaptation of the Broadway hit THE PRODUCERS, itself an adaptation of Mel Brooks' film of the same name. I love seeing Matthew Broderick being great... I grew up on FERRIS BUELLER and I try to forget INSPECTOR GADGET. The review is very well done, going into what he liked and didn't like so you really start to get a feel for the film. I'm hoping this rocks my socks off!
Hey Harry,
I took a trip to Broadway tonight. Actually, Broadway came to Edgewater, New Jersey. You see, we were able to get a sneak peek screening of The Producers. And I now feel a part of a movement that had eluded me for so long. Because musicals really ain't my thing, trying to score tickets to the Broadway run of this show seemed to be something I just couldn't get motivated for. All I heard from well, just about everybody was Oh, you MUST see the show! or Oh, it was just WONderful! or you get the point. But, again, I believed it'd just be one of those things that I'd never really get the energy to try to see.
I guess I should preface this all by saying that I'm not a fan of musicals, but I love a good comedy. My relationship with Mel Brooks movies has been over for a while now I can't even criticize any of his more recent movies because, since Spaceballs, nothing he's made has really interested me. His old stuff, though? Gold. And I wanted to try to put aside my distaste for musicals and enjoy a good comedy. And, strangely enough, ithis movie was keeping the audience laughing pretty much all the way through. Whether it was the songs (which pretty much got huge applause after every one), the bawdiness, or just the whole shebang I found myself actually liking a musical.
But, I should be clear, this wasn't Moulin Rouge, there was no flashy editing or dramatic camera angles, I felt like I was watching the Broadway show. Not a movie of the show, but the show itself. With every musical number and with just about every scene, the movie embraced its theatrical roots. I had to push the Mostel/Wilder version to the back of my brain and convince myself that this was not a movie version of the Broadway incarnation of the original film (whew!). This was a big-screen version of the Broadway phenomenon. And, when I accepted that, I slowly felt myself having a good time.
Most of you already know the story, but here's the rundown: A Broadway producer and his accountant (Nathan Lane & Matthew Broderick), after finding out that they can make more money with a flop than a success, set out to make the worst Broadway musical ever. Along the way to making 'Springtime for Hitler,' they encounter a slew of screwy characters and devise all sorts of schemes to make this show a certain disaster. But, when it becomes a hit, they're up 'hit creek.' (pardon the pun it's that kind of night)
Nathan Lane & Matthew Broderick got a ton of acclaim for their work on Broadway with these roles (a Tony or two, I believe). Here, they show their comfort in becoming their characters and in performing the musical numbers. I'll admit, I was a bit jarred by them at first. They must have been directed to keep the over-the-top, project-from-the-diaphragm performances that they gave on stage. This takes a little getting used to. Truth be told, I felt like some of Gene Wilder's anxiety about his little blankie was a bit overplayed in the original but who the hell am I to criticize Gene Wilder? Here, Matthew Broderick amps it up even more. Great comic effect on stage, I'm sure on the big screen, it seemed a little too much. But, again, once you take this as a pretty literal interpretation of the stage show, you vibe with the performances and they become quite entertaining.
The supporting players do a great job with their characters:
Uma Thurman as Ulla gives her a chance to just exude sex and to flaunt her body. She's sexy in most-every movie, but here it's just about her physical attributes not the brainy-sexy smarts of Beautiful Girls. And she looks gooooood.
Will Ferrell as Franz Liebkind whether or not you're tired of him, this is what he does best. He's playing a whacked out character and completely committing to it. Very, very funny and I was impressed by his song-and-dance skills.
The other standout was Roger Bart. You may know him from Desperate Housewives (did I just admit to watching that?) as the creepy pharmacist he's hilarious here as the very gay assistant to the show's director.
The film's director is Susan Stroman. Apparently, she's an accomplished Broadway choreographer and this shows that she can make an entertaining movie with lots of traditional film musical influences specifically, lots of Busby Berkeley, An American in Paris, and Singin' In The Rain-type influences (I may not like 'em all, but I've given them a shot). Her decision to keep this unabashedly stage-y (wide shots, subtle edits, and theatrical sets) may be questioned by some, but it's a choice that really does work. One musical number, in particular, with old ladies in walkers was quite brilliantly staged. I couldn't help but wonder, though, what this would have been like with the Coen Brothers behind the camera. It could be perfect for a Hudsucker Proxy-type treatment.
The biggest character that runs through the whole show is Mel Brooks. You don't see him until the last frame in the final song, but his voice is the strongest for the entirety of the film. Again, I'm a huge fan of his earlier films: Young Frankenstein, The Producers, High Anxiety, and of course Blazin' Saddles. Though his mojo has seemingly dwindled, it seems like Broadway is a perfect place for him. Here, his nouveau borscht-belt schtick can thrive... and no one does it better. He's also a master showman, so he knows to keep the film light, entertaining, and rapidly paced. Anyway, he may not have directed this but it's pure, essential, and yes classic Mel Brooks.
So, that's it. It's a great way to see the show if you missed it in New York or on the road. The songs are surprisingly enjoyable (although, 'Springtime in Hitler' and 'Keep It Gay' are the ones that I can't get out of my head both of which could get your ass kicked if you're singing around the wrong company) and it makes for a fun time at the movie theater. While it may not change my tune (so to speak) about musicals, at least it made me laugh pretty consistently. Assuming it's coming out around the holidays, it just may be the perfect Christmas-time family outing. Because, you know, everyone will be telling you, 'Oh, you MUST see it! It?s WONderful!' And I gotta agree.
Shalom and Auf Wiedersehen,
Darren Swirl
