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
After Max and Leo do Der Guten Tag Hop Clop with Franz, Max tries to pull open the door. When it doesn't open, he shouts, "We're trapped!". This is an inside joke from the play's run in England. One night, a stage hand had locked the door. When Nathan Lane (Max) tried it, he realized it was locked and shouted out, "We're trapped! Trapped like rats with a crazy Nazi!" A stage hand then went up and unlocked the door and they got out. See more »
In the beginning of "We Can Do It" Max Bialystock steps on his desk onto an open accounting book. When he steps down to go towards Leo, the book on the desk is closed. See more »
Sing Sing Prison Guard:
Gentlemen, you are hereby granted a full pardon for having - through song and dance - brought joy and laughter into the hearts of every murderer, rapist, and sex maniac in Sing Sing! You're free!
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Showgirls from Bloom's dream sequence during the accounting office number dance around some of the closing credits. See more »
After reading critics' reviews I thought twice about seeing this film. But I needn't have worried as this was fantastic entertainment. I don't seem to care that the director has kept the stagy sets and took a literal approach to adapting a stage musical for the big screen. It was a fun time from beginning to end.
While his portrayal of Leo Bloom was too much like Gene Wilder's, Matthew Broderick was simply divine when dancing. Indeed it was an interesting to see the top half of his body so still and rigid while his legs and feet were moving with such poise and grace. Nathan Lane never seems to disappoint, he is simply brilliant. His physical resemblance to Zero Mostel is obvious but the mannerisms are all his own. Uma Thurman is good as Ula and Will Ferrell rediscovers his funny.
I didn't even mind the over-the-stop stereotypes. Gary Beach and Roger Bart are screamingly funny. Springtime for Hitler is the best part of the show and nice to see John Barrowman giving it his all as the blond Nazi.
If you want to be entertained for a few hours then this is the movie to go see, don't let the critics put you off!
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