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
There are several lines in Producers that are a nod to Blazing Saddles, another Brooks film. When Bialystock and Bloom leave the rooftop Franz leans against the door and says "What nice guys." Which is said by Madeline Kahn after her night with the Sheriff of Rockridge in Blazing Saddles. And when Bloom is reading contracts in the office saying "work, work, work." Mel Brooks says this in Blazing Saddles when signing bills as the governor. See more »
The primary taxi in the film is the Checker A11 Marathon, which was not introduced until 1961. Further, most of the models are 70s model year Marathons. See more »
Roger De Bris:
[sung as Hitler]
I was just a paper hanger / no one more obscurer. / Got a phone call from the Reichstag / told me I was F¸hrer. / Germany was blue / What, oh, what to do? / Hitched up my pants / and conquered France. / Now Deutschland's smiling through!
Roger De Bris:
But it wasn't always so easy... It was 1932. Hindenburg was working the Big Room and I... I was playing the lounge. And then I got my big break. Somebody burned down the Reichstag. And would you believe it? They made me Chancellor. ...
[...] See more »
Showgirls from Bloom's dream sequence during the accounting office number dance around some of the closing credits. See more »
Much better than anyone had the right to expect. Lane and Broderick are superb. Even moving. Look what I'm saying, moving. I mean it. Their commitment is contagious. The comedy in itself is shamelessly anachronistic. The gay jokes belong to the period in which the original Producers were conceived. The tone is consistent with that period, the film happens at an incredible pace and you smile from beginning to end. How marvelous to see Matthew Broderick dance. This is an actor who never had an Academy Award nomination and his performances have always been top notch and his range runs the famous gamut from A to Z. What a courageous actor. I couldn't believe he could get away with the "I'm in pain! I'm wet and I'm still hysterical" scene without making me miss Gene Wilder but he did. Nathan Lane is a force of nature. His Max is very much a tribute to Zero Mostel, especially to his hair but this Max is Nathan Lane through and through. Uma Thurman is a delight and I had a great time at the movies. What else do you want out of life.
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