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 »
When 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 »
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 »
Nothing is more arrogant than a film that assumes it's going to be a hit before it even goes into production. Such a disaster is this musical remake of "The Producers." Stagebound, presentational instead of reactive, and more leaden than an Iron Cross, it betrays everything about the 1968 classic -- not to mention raising questions how anything this klunky could ever work, must less be a hit, on the Broadway stage. Reportedly, Mel Brooks was distracted during filming by his wife's illness and death, and that director Susan Stroman didn't have the clout to override his in absentia presence. Never mind that the new third act ending betrays the first two. Never mind that Lane and Broderick never develop the father-son relationship that Zero Mostel and Gene Wilder did, and which drove the story. Never mind that the musical numbers are not only forgettable, but extraneous. Never mind that the 11 o'clock number is over by 10:59. Never mind that Nathan Lane is made up to look like a Hirschfeld drawing. Never mind that Matthew Broderick is a human marshmallow. Mever mind that Uma Thurman sucks the energy out of movies that she's not even in. Never mind that -- oh, never mind. Like a dumb horror movie where the girl heads up to the attic and you know the monster's there waiting for her but she goes up anyway, "The Producers" is its own train wreck, devoid of any sense of self-awareness, let alone the major one: that it needs an audience.
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