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The Producers (2005)

PG-13 | | Comedy, Musical | 25 December 2005 (USA)
2:32 | Trailer

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After putting together another Broadway flop, down-on-his-luck Producer Max Bialystock teams up with timid accountant Leo Bloom in a get-rich-quick scheme to put on the world's worst show.


Susan Stroman


Mel Brooks (screenplay), Thomas Meehan (screenplay) | 4 more credits »
4,563 ( 209)
Nominated for 4 Golden Globes. Another 1 win & 13 nominations. See more awards »





Cast overview, first billed only:
Nathan Lane ... Max Bialystock
Matthew Broderick ... Leo Bloom
Uma Thurman ... Ulla
Will Ferrell ... Franz Liebkind
Gary Beach ... Roger DeBris
Roger Bart ... Carmen Ghia
Eileen Essell ... Hold Me-Touch Me
Michael McKean ... Prison Trustee
David Huddleston ... Judge
Debra Monk ... Lick Me-Bite Me
Andrea Martin ... Kiss Me-Feel Me
Jon Lovitz ... Mr. Marks
Bryn Dowling Bryn Dowling ... Usherette / Girl with Pearls / Little Old Lady / Bavarian Peasant
Meg Gillentine ... Usherette / Girl with Pearls / Little Old Lady / Tapping Brown Shirt
Kevin Ligon Kevin Ligon ... Workman / Little Old Lady


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 rmlohner

Plot Summary | Plot Synopsis


Comedy | Musical

Motion Picture Rating (MPAA)

Rated PG-13 for sexual humor and references | See all certifications »

Parents Guide:

View content advisory »






Release Date:

25 December 2005 (USA) See more »

Also Known As:

The Producers: The Movie Musical See more »


Box Office


$45,000,000 (estimated)

Opening Weekend USA:

$154,590, 18 December 2005, Limited Release

Gross USA:

$19,377,727, 19 February 2006
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

DTS | Dolby Digital | SDDS



Aspect Ratio:

2.39 : 1
See full technical specs »

Did You Know?


After Max (Nathan Lane) and Leo (Matthew Broderick) do Der Guten Tag Hop Clop with Franz (Will Ferrell), 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 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 »


When Leo and Ulla are dancing in the office, the paintbrush sticking out of the paint bucket comes and goes between shots. See more »


Ulla: Secretary-slash-receptionist? Okie-slash-dokie!
See more »

Crazy Credits

Showgirls from Bloom's dream sequence during the accounting office number dance around some of the closing credits. See more »


Referenced in Episodes: Episode Three (2012) See more »


When You Got It, Flaunt It
Music and Lyrics by Mel Brooks
Performed by Uma Thurman
See more »

Frequently Asked Questions

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User Reviews

A film which is a remake of a play which is a remake of a film... Only Mel Brooks would dare
13 June 2013 | by rooprectSee all my reviews

What's the deal with directors who remake movies and get angry when anyone calls it a remake? ("It's not a remake, it's a re-IMAGINING!") Whatever. Not here. "The Producers" (2005) is a hands-down, unapologetic, knock-down, dragout REMAKE. And a fine one at that. Not just scenes, but sets, costumes, actors' intonations, and the overall feeling is just like watching the 1968 classic. I can picture both Matthew Broderick and Nathan Lane intently studying the reels of Gene Wilder and Zero Mostel to get pinpoint accuracy.

If it's so true to the original then why, you ask, would anyone bother watching the remake?

For the same reason we rush out to buy the digitally remastered versions of our favorites. We want to see them shiny and new, the way we've never seen them before but without destroying the original charm. Here we have writer/director Mel Brooks after 40 more years of experience and maturity, doing it again for a new generation, yet having the humility to keep it the same as it was for the old generation. Imagine going to your favorite band's reunion tour and having the thrill of seeing/hearing them sound exactly the way they did decades ago but now with a stage 5x the size and all the fun stuff that they never had the chance to do before.

What's that? Never saw the original "Producers"? Even better. Here you have the opportunity to see a classic, but with crisp, modern production standards. And with some crazy showtunes that were never there the first time around. My guess is that Mel always wanted this to have more music, like his later classics, "Blazing Saddles""History of the World", "High Anxiety", etc. But with "The Producers" being his directoral debut in '68 he toned it down a bit. Here we get the absurdly flamboyant musical he always wanted.

Actually there are 2 big changes to the original, both of which are so perfect I can't believe I went all these years not missing them. The first is the expanded role of "Ulla" (played by Uma Thurman) who is perfect as the ditzy Swedish bombshell. The second is Will Ferrell as the Franz the closet Nazi. In both of these cases, the characters pop right out of the screen. Will's song "Der Guten Tag Hop Clop," complete with choreographed pigeons, had me howling.

And that brings me to the biggest reason why you'd want to see this remake, aside from the songs, the dancing and choreography is EXCELLENT. Folks, this isn't just a movie with some crazy songs and actors flailing for laughs. It has some great dance numbers with nice moves had by all.

All of this has the effect of making "The Producers" (2005) more like the extravagant musical comedies that made Mel famous in the 70s. This remake got everything right. I have to say, compared to other successful directors who now sit in their ivory towers disparaging their early work and swearing they'll never do that again, Mel's still the same as he ever was, but even more so. Keep em coming, sir!

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