A bad Polish actor is just trying to make a living when what should intrude but World War II in the form of an invasion. His wife has the habit of entertaining young Polish officers while ... See full summary »
Down-on-his-luck theatrical producer Max Bialystock is forced to romance rich old ladies to finance his efforts. When timid accountant Leo Bloom reviews Max's accounting books, the two hit upon a way to make a fortune by producing a sure-fire flop. The play which is to be their gold mine? "Springtime for Hitler." Written by
Scott Renshaw <firstname.lastname@example.org>
The "Springtime For Hitler" number took two days to film and was the the most expensive scene in the film. But Mel Brooks said he also spent almost 14 days of his allotted 40-day shooting schedule getting the movie's vital opening scene--with Bialystock seducing an old-lady investor - just right. See more »
In two separate occasions, the way Max grabs/holds the blue lady's hand changes between shots. See more »
Hitler... there was a painter! He could paint an entire apartment in ONE afternoon! TWO coats!
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Zero Mostel is listed in the closing credits simply as "Zero". See more »
How can a Broadway producer who has seen his day really make a lot of money? Leave it to writer/director Mel Brooks to answer that, and answer it he does in the uproarious comedy `The Producers.' Zero Mostel stars as the producer in question, one Max Bialystock, with Gene Wilder co-starring as Leo Bloom, the meek accountant who steers Max onto the path to instant riches with a scheme that (in Max's hands) simply can't fail. With Leo on board as his new partner, Max embarks upon a search for the perfect script, the first step of the plan that will lead them to the pot of gold at the end of the Great White Way. And with Brooks at the helm, it's the beginning of a laugh-filled movie that gets funnier every time you see it. Mostel is perfect as the unflappable Max, the charlatan who woos a string of old ladies into becoming investors in his show; his personality and countenance match the broad approach Brooks takes with his comedy, and it's a fit made in comedic heaven. Wilder, however, nearly steals the show with his terrific, definitive `long' takes and sideward glances that have served him so well during his career. Here, in one of his first screen appearances, he works it perfectly, creating just the right counter-balance to Mostel's boldness, and it makes Leo a truly memorable character. Visually, there is enough in this film to generate plenty of laughs, but that it's delivered with wonderfully witty and clever dialogue as well (the screenplay earned Brooks an Oscar), makes it a true classic in anybody's book. Also unforgettable here are Kenneth Mars, as Franz Liebkind, author of the play that Max and Leo undertake to produce; Christopher Hewett, as Roger De Bris; and especially Dick Shawn, as Lorenzo Saint DuBois (`L.S.D.' to his friends), who becomes the star of Max and Leo's production. Rounding out the great supporting cast are Estelle Winwood (`Hold me, touch me' old lady), Lee Meredith (Ulla), Renee Taylor (Eva Braun), Andreas Voutsinas (Carmen Giya), and William Hickey (Good Natured Inebriate). `The Producers' is every bit as funny now as when it debuted in 1968, maybe even funnier; it proves that good comedy is timeless, and this is comedy at it's best. This is a must-see, not only for Mel Brooks' fans, but for anyone who just likes lots of good laughs. Believe me, this is one funny movie you're going to want to see again and again. I rate this one 9/10.
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