A psychiatrist with intense acrophobia (fear of heights) goes to work for a mental institution run by doctors who appear to be crazier than their patients, and have secrets that they are willing to commit murder to keep.
An American grandson of the infamous scientist, struggling to prove that his grandfather was not as insane as people believe, is invited to Transylvania, where he discovers the process that reanimates a dead body.
A bad Polish actor is just trying to make a living when what should intrude but World War II in the form of an invasion. His wife has the habit of entertaining young Polish officers while he's on stage which is also a source of depression to him. When one of her officers comes back on a Secret Mission, the actor takes charge and comes up with a plan for them to escape.Written by
John Vogel <email@example.com>
Directorial debut of Alan Johnson, who was best known for working as a choreographer, including on several of Mel Brooks's films, starting with the infamous 'Springrime for Hitler' number in The Producers (1967). See more »
When Mel Brooks character's car is being pulled by the horse you can see a line of some sort that is being used either to pull the horse forward or to help the horse pull the car. See more »
[disguised as Prof. Siletski]
Remember, Erhardt, I'm going to see the Fuhrer tonight. Who knows *what* we'll talk about!
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At the end of the movie, each cast member comes and takes a bow, as they would for a stage play, while their names are on the screen. See more »
This remake of Ernst Lubitsch's wartime comedy has often been dismissed as a ham-fisted and unnecessary vanity exercise. This is grossly unfair, as the Brooks' version is in fact a deft and funny comedy that stands up well in comparison to its forebear. Mel Brooks and Anne Bancroft make their own the roles of the Bronskis, a Warsaw theatrical duo ("world famous in Poland")who star in revues at the Bronski theatre. When war breaks out the Bronskis become brood-hens to an ever-growing community of Jewish refugees while staying one step ahead of the Nazis. Brooks and Bancroft are fine in the roles of the battling Bronskis, particularly Mel Brooks who finds a touching level of vulnerability beneath the bombast and bluster of Frederick Bronski. Despite the farcical and improbable plot twists, the narrative is sound and genuine pathos registers throughout the film. Those with fond memories of Jack Benny and Carole Lombard in the lead roles may have boycotted this on first release, but they have denied themselves a rare treat - a sure-footed and genuinely entertaining film.
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