Movie Review 2: The Producers

Movies Reviews

By Ron Wilkinson Dec 23, 2005, 12:32 GMT

Bringing back to the silver screen the 1968 classic “The Producers” must have been threatening for Susan Stroman. But she proves up to the task with the current version of the classic that blasts out of the screen with the unrestrained chutzpah of a singing Fuller Brush salesman. The best example of a Broadway musical film this year and probably the best in several years, 2003’s “Chicago” is the only film in recent history that comes close. The film runs about 135 minutes and devotes three-quarters of that time to full throttle voice, dance and orchestra productions. An absolute must-see for anybody who loves Broadway musicals.

To say that Nathan Lane and Matthew Broderick enjoy themselves in this romp is a gross understatement. They sing every line as if it was their first and their last and dance every step as if the concept of flop had never been invented. They have little to worry about, at least with Broadway musical enthusiasts. This film simply can’t go wrong. As for those too young to appreciate the time-honored tradition of Broadway schmaltz, let them eat “King Kong.” The music and dancing is so tightly packed into the overall time frame and the basic plot so sparsely represented that the result is embarrassing to even the most receptive audience. But who cares? The film is an unapologetic musical review, showcasing the songs, the orchestra and the choreography, and little else matters.Nathan Lane (“The Birdcage,” 1996) plays Max Bialystock, the down at the heels Broadway producer who desperately needs some cash. As the original story line goes, he is down in the dumps and in an epiphany conceives an entirely new way to screw suckers on Broadway. He realizes that he can make as much or more money on a failure as he can on a success. Instead of selling shares adding to 100%, he will sell shares adding to 1000%. When the resulting production fails after the first night, the investors will fade like yesterday’s affair and he will be left with the remaining 900%. But he has to come up with a sure fire failure. The result is “Springtime for Hitler,” the show with such impeccably bad taste that the audience will leave before the second act.Matthew Broderick (“Ferris Bueller's Day Off”--1986) plays Leo Bloom, the lowly accountant dreaming of being a Broadway producer. Overcome by Max’ hallucinogenic visions of fame and fortune he is enlisted as his partner in crime. Their first hire is Ulla, a Swedish actress with a profound talent on the casting couch. Uma Thurman comes through like gang-busters in this role, approaching a Madeline Kahn sort of madness (think Lili Von Shtupp in “Blazing Saddles”). Thurman has to work at being goofy, it doesn’t come naturally to one so beautiful, and Lane and Broderick have to work as well, both being too suave for the roles of the feckless Bialystock and Bloom. They have big shoes to fill in the parts of the previous leads Zero Mostel and Gene Wilder, two comedians who were born into goofiness like Adam and Eve into the Garden of Eden.Will Ferrell (“Bewitched”) plays the part of Franz Liebkind, Bialystock and Bloom’s first choice as the Hitler who couldn’t make a hit if his mustache depended on it. Ferrell gets a high mark for goofiness in this role and has a Golden Globe nomination for this work already. When he is injured on opening day, his replacement the play’s director Roger De Bris, played to a tee by Gary Beach. De Bris heads up the most outrageously gay production crew seen on screen since the closing scenes of “Blazing Saddles.” Beach has the climactic scene in which the audience, heading for the door in droves, suddenly reconstructs the production as a farce and turns it from a failure to a smash hit. If there is a slight drooping of the energy level at the start of the number, the audience barely notices as Beach swings into one of the best musical pieces ever. The rest, as they say, is history.The problem of finding two leads as well suited to this fluffy farce was apparently side-stepped by the decision to fill the time with song and dance rather than acting. This will turn out to be just fine with many in the audience. Those that don’t particular care for musicals in the first place, which probably constitutes the majority of film-goers, will stay away in droves. But many will need this virtually perfect escape from the tedium of the holiday season. Being released on Christmas day, it will be a pleasant present. Don’t leave when the credits begin, Mel Brooks saves his part for the very end.Access media from 'The Producers'.

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OllyDec 30th, 2005 - 21:16:54

Im not sure what film the guy above saw but I went to see The Producers and I'm only just recovering from easily the worst film of the year. Besides Mrs Therman the actors treated the audience to two hours of gay thespian stereotypes which were entertaining for all of five minutes. The frequent musical numbers sounded repetitive and all too typical. The play between the two producers was like a childish pantomime from the second they met and soon became annoying, I'v had more creative games of peek'a'boo, which if given sufficent time I'm sure the two goonish actors would incorparate into their pathetic interaction. I'm really annoyed I stayed to the end of this film, the drive home was more entertaining.

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daveJan 2nd, 2006 - 23:55:44

i agree with olly, this was the worst film i have ever seen in my life. the only reason i sat through to the end was it was my sister's birthday and she wanted to see it, otherwise i would have walked out by the end of the first childish scene. After trying to get myself to sleep but being wakend by the horrible repetetive songs, i found that diggin my finger nails into my arm helped distract me from this painfull movie. Although it was good when the screen tured black and names came up on screen, that was a sroke of geniuos.

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SueJan 28th, 2006 - 08:29:54

My husband and I loved it. It was extremely entertaining and had great music.

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LennyJan 30th, 2006 - 11:09:59

This was definately THE most annoying movie I have ever seen. I kept asking myself when would it all end, as it dragged on and on with childish drivel and endless singing. I wish I had walked out. Most people I noticed afterwards hated it. I've never felt so angry after watching a movie.

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ron wilkinsonMay 5th, 2006 - 00:05:37

I agree with all of you. And the thing I especially hate about musicals is the endless singing. I can't figure out why I see them all the time. With the singing and all...

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