Blazing Saddles (1974) Poster


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One day in the Warner Bros. studio commissary, Mel Brooks and the other writers were seated at a table opposite John Wayne ("the Duke"). The Duke turned and said he had heard about their Western, the one where people say stuff like "blow it out your ass". Mel handed the Duke a copy of the script and said, "Yes, and we'd like you to be in it." According to Brooks, the Duke turned down the offer the next day by saying, "Naw, I can't do a movie like that, but I'll be first in line to see it!"
When the film was first screened for Warner Brothers executives, almost none of them laughed and the movie looked to be a disaster that the studio would not release. However, Mel Brooks quickly set up a subsequent screening for the studio's employees. When these regular folks laughed uproariously throughout the movie, Warners finally agreed to take a chance on releasing it.
After promising Warner Bros. that he would edit out several "offensive" scenes--such as the infamous farting sequence--Mel Brooks in fact never cut a single scene except one: after the room is darkened and Lilly (Madeline Kahn) informs Bart "It's TWUE! It's TWUE!", Bart (Cleavon Little) quietly states,"You're sucking on my arm".
While filming, Burton Gilliam--who played Lyle, the henchman of Taggart (Slim Pickens--was having a difficult time saying the word "nigger", especially to Cleavon Little because he really liked him. Finally, after several takes, Little took Gilliam off to the side and told him it was okay because these weren't his words. Little jokingly added, "If I thought you would say those words to me in any other situation we'd go to fist city, but this is all fun. Don't worry about it."
The scene in which Cleavon Little aims his gun at his own head to save himself from the townspeople's wrath was based on an incident from Mel Brooks' childhood. He said that once, to his disbelief, he stole some gum and a water pistol from a drugstore; when a store worker tried to stop him, Brooks held the worker at bay with the very water pistol he had just fingered from the store.
At the end of the movie when the whole group is running out of the Warner Bros. studio front gates, there is a man in a sweater standing on the sidewalk, watching the action. Mel Brooks has said that the man was not part of the movie, and had simply wandered into the scene; they shooed him away and then went to film the scene -- the guy comes back into the shot and is seen standing next to a light pole as the characters stream past him down the street. Mel Brooks had asked the gentleman to move as they were going to film that scene. The man, not understanding their requests stood there. So Mr Brooks sent out a waiver for him to sign and left him in the movie.
In the DVD commentary, Mel Brooks said that the working title for the film was "Tex X", as a reference to black Muslim leader Malcolm X. It was then switched to "Black Bart", then to "The Purple Sage". In either case, neither he nor the other writers thought those were great titles. Brooks says that one morning he was taking a shower and the words "Blazing Saddles" suddenly popped into his head. When he got out of the shower, he pitched the title to his wife, actress Anne Bancroft, who liked the idea, and that's how the movie ended up with its title.
When auditioning for the role of Lili, Madeline Kahn was asked by Mel Brooks to pull up her skirt so he could see her legs. She was quite hesitant, being unclear of Brooks's intentions. Brooks actually just wanted to see if she had legs good enough to approximate Marlene Dietrich's famous "gams".
According to Mel Brooks (in the commentary for Spaceballs (1987)), when Gene Wilder first came on set for this movie, he asked that for Brooks' next movie he use an idea that Wilder had been working on. That idea was Young Frankenstein (1974).
When Harvey Korman's character purchases a ticket at the Grauman's Chinese Theater box office, you can see the original film title, "BLACK BART" in the poster case in the background.
When Mongo rides into town, one Mexican says, "Mongo! Santa Maria!" Mongo Santamaría was a famous Cuban musician.
Mel Brooks never told Frankie Laine that the theme song "Blazing Saddles" was for a comedy. Laine thought it was a dramatic western. Brooks was worried that Laine wouldn't sing it with conviction if he knew the truth.
Hedy Lamarr sued Mel Brooks over the use of the name Hedley Lamarr and settled out of court. Mel said he was flattered by this attention and even made a reference to the lawsuit in the movie.
Madeline Kahn started working on the movie the day after being fired from the role of Agnes Gooch in Mame (1974). Lucille Ball believed that Kahn got herself fired (by deliberately acting poorly) so that she could take the role of Lili Von Shtupp in this film, but still get paid for the Gooch role in "Mame", which by her contract wouldn't have happened if she'd merely quit.
Supposedly, this movie officially marks the first time the sound of farting has ever been used in a film (at least according to the filmmakers in the DVD Documentary). According to Mel Brooks, they came up with the idea after watching numerous old westerns where cowboys only consume black coffee and plates of beans, concluding that such a food combination would inevitably lead to farting.
When Mel Brooks advertised in the show business trade papers for a "Frankie Laine-type" voice to sing the film's title song, he was hoping for a good imitator. Instead, Frankie Laine himself showed up at Brooks' office two days later, ready to do the job but nobody told him the movie was a parody.
The character Governor LePetomane was named after a popular turn-of-the-century French performer, Joseph Pujol, whose stage name was "Le Pétomane". Pujol was famous for his remarkable control of the abdominal muscles, which enabled him to inhale air into his rectum and expel the air upon command, farting at will. His stage name combines the French verb péter, "to fart" with the -mane suffix, meaning "-maniac," which translates to "fartomaniac". The profession was also referred to as "flatulist", "farteur", or "fartiste". He told stories punctuated with flatulence, demonstrated his ability to blow out candle flames from two feet way with his back turned, and performed "La Marseillaise" and popular tunes. So basically, the Governor's name is William Fartomaniac.
During a speech honoring Mel Brooks as a Kennedy Center Honoree, President Barack Obama mentioned going to see Blazing Saddles (1974) at the age of 13. When Brooks asked how he got in with the ratings restriction, the president replied, "I think I had a fake ID," before adding, "The statute of limitations has passed."
Production began with Gig Young as the Waco Kid. On the first day of shooting, the scene where the drunk Waco Kid hangs from a bunk asking if Bart is black, Young revealed that he really was indeed drunk (he had had an alcohol problem for years) and proceeded to undergo a physical collapse on set. Brooks shut down production for a day and Gene Wilder flew cross country to take over the role. Young later sued Warner Bros. for breach of contract.
The sound effects for the famous wind-breaking scene (with the cowboys around the camp fire letting nature take its natural course after a meal of beans) were added in the cutting room by Mel Brooks and any passer-by, who rubbed soap onto their hands and placed the hand under the armpit, and then closing the armpit.
Richard Pryor came up with the character "Mongo".
In the scene where Hedley's (Harvey Korman) men ride through the fake town, there is a quick cut to Lilly Von Schtupp (Madeline Kahn') singing a drinking song with the German soldiers. They are singing the same song that Zero Mostel and Gene Wilder were singing with Kenneth Mars in The Producers (1967).
One studio executive stopped Mel Brooks in an elevator at the Warner Brothers lot and told him that several scenes were offensive and needed to be cut in order for the picture to be released. Brooks nodded and agreed to be polite even though he had no intention of changing a thing, being that he had final cut written into his contract.
The scene in which Mongo knocks out a horse has a basis in reality. Mel Brooks' former Your Show of Shows (1950) and Caesar's Hour (1954) boss, Sid Caesar, who was a physically imposing and somewhat violent man, reported in his 1982 autobiography "Where Have I Been?" that while trail riding with his wife, her horse caused trouble and he punched it once between the eyes. The horse collapsed, unconscious. He notes that this event was Brooks' inspiration for the Mongo-vs.-horse scene.
The world premiere was at the (now gone) Pickwick Drive-In Theater in Burbank, California. The guests rode horses into the drive-in for the premiere. The Pickwick was also used for a location in Grease (1978).
The voices for the drunk who Lili Von Shtupp kicks off the stage and the German soldier who joins her later in the show are both provided by Mel Brooks.
According to Mel Brooks' 1975 "Playboy" interview, "We mentioned Raisinets in 'Blazing Saddles' and now the company sends me a gross of them every month. A gross of Raisinets!"
The role of Bart was intended for Richard Pryor, but due to the controversial nature of Pryor's stand-up routines of the day and his background, Mel Brooks couldn't secure financing for the project with Pryor in that role. So Pryor was made a co-writer of the script, and Cleavon Little played Bart. Pryor later got to star in a different western comedy - Adiós Amigo (1976).
On the marquee at Graumann's Chinese Theater, the flashing title "Blazing Saddles" is a matte lay-in, covering the film's original title, 'Black Bart.' The final title of the movie wasn't decided until after principal photography.
The bull that Mongo rides has "YES" painted on one side and "NO" painted on the other. This is apparently a reference to the practice in the 1950s of marking the back of school buses for which side was safe to pass on, essentially inferring that Mongo and his mount are as big as a bus.
The Hebrew writing on headband worn by Mel Brooks on the movie poster should translate to "Kosher for Passover", but it has a (deliberate) mistake: the first letters were switched, which translates it to something like "Posher for Kassover". The huge coin on the poster is inscribed "Hi! I'm Mel, Trust Me!"
Dom DeLuise has claimed that the role of the director of the film-within-a-film, "The French Mistake", was originally meant to be played by actor Peter Sellers. However, after Mel Brooks endured an exhaustive four-hour audition, he instead cast DeLuise.
The Indian Chief played by Mel Brooks speaks Yiddish. He says: "Blacks!" "Don't be crazy!" "Let them go!" "Have you ever seen in your life?!"
In Yiddish, to "shtupp" means to "push" or to "stuff", which is a double entendre. It has been replaced with "shhh" on some television broadcasts.
After writing his first two feature films on his own, Mel Brooks was nostalgic for the collaborative group writing style of his days on Your Show of Shows (1950), so he employed four other writers to work with. According to co-writer Andrew Bergman, who wrote the treatment on which the film is based, almost all of the scenes include some contribution from the five writers.
Cleavon Little was not warned about the "you know... morons" line. His reaction was real.
The name of Dom DeLuise's character "Buddy Bizarre" is a reference to the famed dance choreographer Busby Berkeley, who was renowned for staging highly elaborate and precisely-timed song and dance numbers, of which "The French Mistake" is a clear parody.
At the beginning of the scene in which Mongo awakens chained up in the sheriff's office, when Bart is hanging up posters on the board, there is a wanted poster already hanging up on the wall. This same wanted poster can be seen on the wall in the jail house in the John Wayne movie Rio Bravo (1959).
Is #9 on Bravo's list of the 100 Funniest Movies.
According to Mel Brooks' audio commentary, Warner Bros released the film again in the summer of 1975 because it didn't have any other big pictures to release.
Mel Brooks wrote a song called "Bart" which would reveal that character's back-story as a pimp, but it was cut before filming began because he felt it slowed the film down and would make it less likely for audiences to sympathize with his plight.
Over 70 stuntmen worked on this film, many of them doubling as extras.
Premiere voted this movie as one of "The 50 Greatest Comedies Of All Time" in 2006.
Mel Brooks also asked Johnny Carson to play the Waco Kid; he refused.
The character of "Gabby Johnson" is a tribute to George 'Gabby' Hayes, who some film historians have dubbed "The Ultimate Sidekick". Hayes appeared in almost 200 films, nearly all westerns, including many early John Wayne films, and played sidekick to such western stars as Roy Rogers and Gene Autry.
The Indian chief played by Mel Brooks speaks in Yiddish. This was possibly done as a gag reference to the fringe conspiracy theory that the Lost Tribes of Israel emigrated to America and became the Natives.
Gene Wilder was originally offered the role of Hedley Lamarr but didn't feel right for it, and told Mel Brooks that he wanted The Waco Kid instead. However, Brooks wanted someone older for The Waco Kid, someone like Dan Dailey. Dailey was originally considered for the role of the Waco Kid, but poor health and declining eyesight forced him to decline.
The original plan for the film was to have Alan Arkin direct with James Earl Jones playing Bart.
Slim Pickens voluntarily slept outside with a Winchester rifle during most of the shoot to get a feel for his character.
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This film is ranked #6 on AFI's 100 Years... 100 Laughs.
Though credited on screen as "Gum Chewer", Don Megowan actually played a different role in the film: he was the man who Madeline Kahn pushed into the audience after he lurched drunkenly toward her while she was on stage.
Bart (Cleavon Little) enters Lily's (Madeline Kahn)'s dressing room and says, in German, "Wie gehts, meine Schatzi", which in English means "How are you, my darling?"
A large photo of Edward G. Robinson can be seen hanging on the commissary wall during the pie fight.
The main character of Bart is possibly based a bit on famed black U.S. Marshal Bass Reeves of the Arkansas Indian Territory in 1875 and later the area of Paris, Texas, in 1893.
Gene Wilder said of the film, "They've smashed racism in the face, but they're doing it while you laugh."
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Just like George Furth's character is named after Van Johnson, David Huddleston's character Olson Johnson is named after comedy duo Ole Olsen and Chic Johnson, aka Olsen & Johnson.
Filmed on the same outdoor sets as Westworld (1973).
When handing out the paddles to everyone at the table, Gov. William J. LePetomaine calls them by name as Frankie, Johnny, Patsy and Kelly. "Frankie & Johnny" was a popular song in the 1930s and Patsy Kelly was a popular comic actress at that time.
Scriptwriter Andrew Bergman originally named the lead character "Tex X".
The movie poster shows Mel Brooks in his role as an Indian chief. On the headband of his feathered headdress are Hebrew characters that spell out "Posher l'Kesach." This is a deliberate spoonerism of the actual Hebrew phrase "Kosher l'Pesach," which means "Kosher for Passover", so it would read something like Posher for Kassover.
The idea of the film came from an original story outline written by Andrew Bergman, which Mel Brooks described as "hip talk--1974 talk and expressions--happening in 1874 in the Old West". Brooks was immediately taken by the story, and despite having not worked with a writing team for some time, hired a group of writers, including Bergman, to expand on the script, reminding them "Please do not write a polite script".
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Gene Wilder and Cleavon Little quickly became friends on set. Since Little was a Broadway actor, Wilder would give him pointers for acting in front of the cameras.
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Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.
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Mel Brooks' first movie filmed in Panavision scope; 2.35:1.
It's unlikely if Mel Brooks knew the story, but in real life a black man was named as the postmaster of Punta Gorda, Florida, by a man who held a grudge against the town's founders, as a deliberate affront to its Southern sensibilities.
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Mel Brooks described the writing process as chaotic in an interview with Creative Screenwriting, recalling, "'Blazing Saddles' was more or less written in the middle of a drunken fistfight. There were five of us all yelling loudly for our ideas to be put into the movie. Not only was I the loudest, but luckily I also had the right as director to decide what was in or out."
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Numerous scenes were cut from the film, including a scene where Bart tricks Mongo into diving for treasure and a scene with the governor touring the fake Rock Ridge with the press. These are included on the Blu-ray release.
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According to Mel Brooks, there were a lot more scenes with the governor, but he cut them for time. He joked, "My whole performance was on the cutting-room floor!"
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The choreographer is named Alan Johnson. He fits right in - all the townspeople are named Johnson.
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Robert Ridgely's medieval hangman returned in Mel Brooks' Robin Hood: Men in Tights (1993).
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Mel Brooks said that "I'm Tired" was the "dirtiest song I ever wrote in my life."
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Andrew Bergman said, "You couldn't make this movie today. You can't say the N-word in a movie today, not even in a comic way."
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This was Mel Brooks' first film shot in anamorphic format. To date, this film and History of the World: Part I (1981) are the only Brooks films in this format.
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The Rock Ridge set was a hand-me-down from Westworld (1973).
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Mel Brooks wrote the movie out of anger at "white corruption, racism, and Bible-thumping bigotry."
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Mel Brooks' son, writer Max Brooks, was born during the production.
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George Furth wore red socks during filming, claiming he heard Van Johnson always wore red socks.
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Count Basie: leader of the jazz band in the desert. The song being performed is 'April in Paris' written by Vernon Duke and E.Y. Harburg in 1932.

Director Cameo 

Mel Brooks: In the outlaw recruitment line, smiling and wearing an aviator's costume. Also portrays the governor and the Indian chief.

Director Trademark 

Mel Brooks: [fourth wall] often breaks the "fourth wall", having the actors speak directly to the audience.
Mel Brooks: [Harrumph] created mob noise by having people say, "Harrumph." We can hear an example of this moment after the townspeople refuse to give land to the Irish. In the ensuing hubbub, Brooks can be heard to say, "Everybody, harrumph!"

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