Actress Reese Holden has been offered a small fortune by a book editor if she can secure for publication the love letters that her father, a reclusive novelist, wrote to her mother, who has... See full summary »
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
Brad Oscar, who plays the taxi driver, was the original Franz Liebkind in the Broadway version. He also played Max Bialystock both on Broadway and in London after Nathan Lane departed the role in both cities. See more »
In the scene where Leo asks Max, how much money they put in the show, Max seems to have a heart attack, runs into the sofa and then falls to the ground. When he gets up his hair is completely messy. In the next shot when Max is opening the closet to show Leo the little old ladies his hair is suddenly completely in order. See more »
I was never a member of the Nazi Party! I only followed orders. I had nothing to do with the war! I didn't even know there was a war on. We lived in the back, right across from Switzerland. All we heard was yodelling... yoodle le he hoo
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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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