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 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 beginning of "We Can Do It" Max Bialystock steps on his desk onto an open accounting book. When he steps down to go towards Leo, the book on the desk is closed. 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 »
now I wish to see the full stage of the unsuccessful disaster play!
I saw this film for the first time, not having ever seen the 1968 movie, nor ever been able to frequent theatrical shows. It was therefore an exciting experience to see the highly reputed theater piece performed by stage actors alongside screen actors; then I allow myself falling in love with motion pictures (and screen actors) again rather than lamenting a life without chance to be a theatergoer.
Dialogues are funny and "deeply" cynical, spoken just they should be; but I felt they were often upstaged as every small role is played by enough eye-catching entertainer to weaken the charm of words. The Central Park fountain eruption following the scene of the successful-fiasco-seeking "producer" calling God, "old friend", seemed quite modest, playing rather good "supporting" role.
It is hard to dislike this musical, after all. The song, "I Want to be a Producer" is sweetly sung like a touching love song; I wonder this soft singing voice existed in the original 1968 film? Also, Ulla's flaring blue dress is a delight to capture in view while she elegantly moves. Most of all, now I really wish to see the full stage of the Franz Liebkind's "Spring Time for Führer" or a furor play!
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