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I remember seeing the current film of The Producers in a virtually deserted theatre and loving it. I unexcited judge it is one of Mel Brooks’ best films. So I was a bit jumpy when I heard it was being turned into a Broadway musical and then that musical was being made into a film. But, on the whole, I have to admit to enjoying it considerable more than I plan I would.
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Much of the credit must go to Susan Stroman’s stagey and somewhat campy direction, which suits the material perfectly. Even more credit belongs to the unbelievable Nathan Lane for managing to equal Zero Mostel’s unusual Max Bialystock and even, once or twice, surpassing it. He is, quite rightly, the heart and soul, of the film. The rest of the cast is not dreadful either. Uma Thurman is a well-behaved surprise, the double act of Gary Beach and Roger Bart are pure politically-incorrect joy, and even Will Farrell is apt. Which leaves Matthew Broderick. He certainly comes to life when singing and dancing, considerable more so than I would have expected. But his characterisation of Leo Bloom seems unbiased a bit too bland. I know Leo is supposed to a personality-deficient accountant, but I really miss Gene Wilder’s manic edge. With Broderick, there’s not even a hint in the eyes that he really needs that blue blanket.
It was fun spotting all the lines of dialogue from the recent and seeing how the yarn and characters were altered (I could understand LSD not fitting into the current view but the playing of Hitler first by Hans, then by DeBris seemed a tad awkward) . But, this being a musical version, the present is going to rise or plunge on its musical numbers. In general, the staging was clever and often laugh out loud droll. The songs, it must be said, are not the most memorable ever heard on Broadway. But the energy and enthusiasm with which they are performed more than acquire up for that. Irregular then that some of them are edited. The opening number ends so abruptly – I’m grateful that the DVD has the entire number as an extra. I can gawk no genuine reason why it was reduce short (unless someone felt it was too Jewish) . Surely, running times are not the crucial factor they mature to be. But many delights survive including a chorus line of grannies with walking frames, comely girls dressed only in pearls, and Uma Thurman doing a quite estimable Cyd Charisse impersonation with her seemingly endless legs. In fact, the only precise musical disappointment for me was the renowned Springtime For Hitler number which seemed to lack the punch, fizz and open-mouth shock quality of the unusual. Maybe it’s the passage of time or honest sparkling that it was coming. But Nathan Lane’s Betrayed number was soooo wonderful that I had to rewind for an instant encore.
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All in all, it’s nice to sight that someone can level-headed do a agreeable venerable musical.
I was thrilled when I found out Matthew Broderick and Nathan Lane would reprise their Broadway performances for the tremendous shroud. When you live 1,000 miles from Novel York, you often rely on the movies to bring you these tiny gems. And a gem this is. The most fun-filled, laugh out loud amusing musical comedy of the year delights mainly due to the outstanding performances of Lane and Broderick.
The tale is as ancient as 1968 when Mel Brooks gifted us with the current movie. The accountant who inadvertently gives the Broadway producer the tip of a lifetime—-produce the worst play of all time and pocket the backing-is a singing, dancing romp that leaves you feeling you have seen the best of Broadway at the movies. No one but Nathan Lane could ever bring all the sleaze of Max Bialystock to life with such hilarity; no one but Matthew Broderick could compose the nerdy Leo Bloom so enchanting: and no one but Uma Thurman could convince us such a stunningly seductive woman could descend for either.
Will Ferrell shines as the playwright enamored with Hitler and thrilled to bring his “Springtime for Hitler” to the stage in one of the movie’s best production numbers, the other being the sex-starved dilapidated ladies dancing desperately with their walkers.
Bawdy writing by Mel Brooks and the inimitable mugging of Lane and Broderick perform this a must-see for fans of musicals.