New York, 1959. Max Bialystock was once the king of Broadway, but now all his shows close on opening night. Things turn around when he's visited by the neurotic accountant Leo Bloom, who proposes a scheme tailor-made for producers who can only make flops: raise far more money than you need, then make sure the show is despised. No one will be interested in it, so you can pocket the surplus. To this end, they produce a musical called Springtime for Hitler written by escaped Nazi Franz Liebken. Then they get the insanely flamboyant Roger De Bris to direct. Finally, they hire as a lead actress the loopy Swedish bombshell Ulla (whose last name has over 15 syllables). As opening night draws near, what can go wrong? Well, there's no accounting for taste... Written by
When greeting Max and Leo at the door, Carmen Ghia's exaggerated "s" sound when saying the word "yes" lasts for 23 seconds. See more »
During the 'Heil Myself' number, the characters sing the line "If you're looking for a war, here's World War Two!" and make the hand gestures for 'W' 'W' '2'. The lead tenor (John Barrowman) is in a hurry to replace his hat and does the hand gestures incorrectly: 'V' 'W' '2'. See more »
For the closing credits, Will Ferrell (in the character of Franz Liebkind) recorded "The Hop-Clop Goes On" - a slower version of "Der Guten Tag Hop-Clop" that parodies "My Heart Will Go On" from "Titanic" right down to the cheesy instrumentals. At the end of the song, Franz whispers to the audience: "Don't forget to purchase 'Mein Kampf' in paperback. You can find it at Borders... or Barnes and Noble...und Amazon.com" See more »
The 1968 version of "The Producers" with Zero Mostel and Gene Wilder was hilarious. It was one of the all-time funniest comedies to hit the big screen. The 2005 version, however, is gratingly awful. The idea to set this comedy to a musical format was obviously very successful on Broadway. It certainly failed to transition to film. All of the songs seemed annoyingly unoriginal; as if someone put dumb rhymes and monotonous tunes together. Each song was painful to watch and hear and they were all completely forgettable. Matthew Broaderick, in the opening sequences, did a pretty good impersonation of Gene Wilder - line for line, that is. Remakes should show a little more originality and, anyway, Gene Wilder he's not. The same can be said for Nathan Lane
a pretty good impression of Zero Mostel - as if these actors viewed
the tape of this movie a hundred times until they got it down. Big deal. Will Ferrell was atrocious as the crazed Nazi. It was as if he did a workshop on overacting. He was more over the top than Dolly Parton in a turtleneck. Uma Thurmon's character was unnecessary and should have been left out. The happy ending lacked the humor of the original. The whole movie seemed like a loud, amateurish wreck. Even the joke Lane made towards the end about someone else's life flashing before his eyes was stolen from an old Woody Allen joke. El Stinkeroo.
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