MEOW!
I remember liking the 2005 movie musical adaptation of The Producers quite a deal, although probably not as much as my sister (Emmy Rossum) who was obsessed with it to a T. In regards to the musical production itself, I love it--hilarious characters, wonderful songs, and a pigeon named Adolf. What more could you want at that age? Oh right, it's adapted from a screenplay by Mel Brooks. What else could you want at that age? Oh SPACEBALLS, that's right: Adolf Elizabeth Hitler!
So, what do I think of it today?
Despite a rather uneven direction by Susan Stroman, with some jokes falling flip-FLOP-fat on its face, The Producers is nonetheless a very entertaining musical comedy with an absolutely BRILLIANT performance by Will Ferrell. He is responsible for portraying Franz Lebkind, the writer of what is sure to be a one-hundred percent flop: Springtime for Hitler. His comic timing, his energy, his facial expressions, his singing voice; Der Guten Tag Hop-Clop is a joyous moment of outrageous comedy. How he got snubbed for a Best Supporting Actor nomination that year is beyond me.
Oh, and yes, the pigeons deserved some nominations as well. Even Adolf.
The rest of the cast ensemble provides wonderful work all around. Most of the members of this cast came from the original Broadway cast, and seeing them in this film is a real treat for Broadway fans. Nathan Lane and Matthew Broderick prove that they still got it as Max Bialystock and Leopold Bloom; Lane's "Betrayed" is brilliantly performed while Broderick's "I Wanna Be A Producer" will put a smile on your face and a giggle through your...stomach. Roger Bart and Gary Beach provide some of the funniest moments of the film as Carmen Ghia and Roger DeBris ("Darling, quick, back in the closet!"). Even though she hasn't been on the Great White Way, Uma Thurman makes a solid choice for Ulla, and her dance with Bloom during "That Face" is enjoyably humorous.
For the most part, the jokes in The Producers hit bullseye. As I've mentioned, anything involving Will Ferrell is a joy to watch, but it's even funnier when he's with most of the principal performers. The scene before opening night of "Springtime for Hitler" is just side-splitting; you will never say good luck before an opening night of a production ever again. "Springtime for Hitler" is also just...I'll just say this..."Don't be stupid, be a smarty. Come on and join the Nazi party." Or...perhaps not....And without giving too much away, the scene after "Springtime for Hitler" is THE funniest moment in the film, and quite possibly one of the funniest moments I've ever seen in a movie musical. I dare you not to laugh once during that scene, or at least crack a smile. Or a "he...hehe.."
A few jokes do miss the mark, such as one joke during "Keep It Gay." While that joke made me die with laughter on stage, it comes across as awkward when shot for the film. Also, some of the direction feels a bit too 'stagy' for a movie musical, particularly during the opening sequence with Bialystock and Bloom. It doesn't feel like I'm transported to another world from my own; I feel like I'm watching a live recording of a stage performance. There's a difference between that and watching a *movie* musical.
But those flaws are half-way redeemed because the rest of the film is so likable to enjoy, and the final third does show a bit of (silly) heart-warming emotion as well. Is it a perfect movie musical comedy? The answer is a simple 'no' to that question, but it's a solid movie musical comedy with excellent performances--especially from Will Ferrell--and witty, memorable tunes written by none other than Mel Brooks himself. Out of five pigeons named Adolf, I give The Producers...
So, what do I think of it today?
Despite a rather uneven direction by Susan Stroman, with some jokes falling flip-FLOP-fat on its face, The Producers is nonetheless a very entertaining musical comedy with an absolutely BRILLIANT performance by Will Ferrell. He is responsible for portraying Franz Lebkind, the writer of what is sure to be a one-hundred percent flop: Springtime for Hitler. His comic timing, his energy, his facial expressions, his singing voice; Der Guten Tag Hop-Clop is a joyous moment of outrageous comedy. How he got snubbed for a Best Supporting Actor nomination that year is beyond me.
Oh, and yes, the pigeons deserved some nominations as well. Even Adolf.
The rest of the cast ensemble provides wonderful work all around. Most of the members of this cast came from the original Broadway cast, and seeing them in this film is a real treat for Broadway fans. Nathan Lane and Matthew Broderick prove that they still got it as Max Bialystock and Leopold Bloom; Lane's "Betrayed" is brilliantly performed while Broderick's "I Wanna Be A Producer" will put a smile on your face and a giggle through your...stomach. Roger Bart and Gary Beach provide some of the funniest moments of the film as Carmen Ghia and Roger DeBris ("Darling, quick, back in the closet!"). Even though she hasn't been on the Great White Way, Uma Thurman makes a solid choice for Ulla, and her dance with Bloom during "That Face" is enjoyably humorous.
For the most part, the jokes in The Producers hit bullseye. As I've mentioned, anything involving Will Ferrell is a joy to watch, but it's even funnier when he's with most of the principal performers. The scene before opening night of "Springtime for Hitler" is just side-splitting; you will never say good luck before an opening night of a production ever again. "Springtime for Hitler" is also just...I'll just say this..."Don't be stupid, be a smarty. Come on and join the Nazi party." Or...perhaps not....And without giving too much away, the scene after "Springtime for Hitler" is THE funniest moment in the film, and quite possibly one of the funniest moments I've ever seen in a movie musical. I dare you not to laugh once during that scene, or at least crack a smile. Or a "he...hehe.."
A few jokes do miss the mark, such as one joke during "Keep It Gay." While that joke made me die with laughter on stage, it comes across as awkward when shot for the film. Also, some of the direction feels a bit too 'stagy' for a movie musical, particularly during the opening sequence with Bialystock and Bloom. It doesn't feel like I'm transported to another world from my own; I feel like I'm watching a live recording of a stage performance. There's a difference between that and watching a *movie* musical.
But those flaws are half-way redeemed because the rest of the film is so likable to enjoy, and the final third does show a bit of (silly) heart-warming emotion as well. Is it a perfect movie musical comedy? The answer is a simple 'no' to that question, but it's a solid movie musical comedy with excellent performances--especially from Will Ferrell--and witty, memorable tunes written by none other than Mel Brooks himself. Out of five pigeons named Adolf, I give The Producers...
Until next time,
How we gonna pay
How we gonna pa-a-ay
How weeeeee gonna pa-a-ay
LAST YEAR'S REEEEEEEEEEEEEEEEEEEEEEEEEEEEEENT
and MEOW, of course!
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