It’s rare for me to see a movie that makes me feel the way the old classics did. Most of what I watch on cable is on TMC or the Fox Movie Channel. I grew up with a reverence for the musical masterpieces from Fox and M-G-M, and the stars that could suspend disbelief with a simple swirl of an Edith head gown, or some Fred Astaire footwork. The concept of “Two of everything and twice as big!” became my personal mantra, and quite frankly, I’ve missed movies of such scope and caliber for more years than I care to admit to. 

That said, if you didn’t get to see “The Producers” in the theaters, it may be just as well. I’m reminded of a critic’s advice in 1964 when “Hello, Dolly!” opened; “Don’t bother holding onto your hats…. you’ll only be throwing them in the air anyway!” Mel Brooks indeed turned out a gem with this one, his classiest film ever. The marriage of Brooks’ comedic genius and the over-the-top production styles of the 30’s and 40’s is flawless, a combination of ‘Blazing Saddles’ zaniness and ‘Singing in the Rain’s’ sumptuous production value. Don’t expect the broad, vulgar comedy that has been Brooks’ trademark for three decades. This film is clean, slick, and polished. The staging and the costumes for the production numbers would have made Florenz Ziegfeld drool. Brooks’ music, (yes, Mel Brooks wrote the music and lyrics,) is remarkable in that he faithfully captures in it the toe-tapping, ovation-worthy feel of the great musicals of yesteryear.  

Impossibly, Nathan Lane was able to equal Zero Mostel’s brilliance as Max Bialystock, if not surpass it. Any time an actor takes on a remake of a classic, he’s treading on very thing ice, but when the role was originated by a mensch like Mostel, (who experts in musical theater still credits as the ‘definitive’ Tevye,) can be professional suicide. But not only does Lane not fall short, he shines, giving his best performance since ‘The Birdcage’. 

But most noteworthy and laudable is Matthew Broderick’s filling of Gene Wilder’s shoes. Broderick’s performance alone is worth the price of renting the DVD. Gone is the young, boyish semi-geekiness of his younger roles, replaced by a sure-footed, pitch-perfect showman. He assumes the mantle of comparison (to Gene Wilder’s rendition of Leo Bloom) with abandon, and matches Lane’s eye bugging and histrionics boldly. What came totally unexpectedly were his almost flawless efforts in song and dance. His tenor voice is definitely Broadway quality, (far better than Michael Crawford’s in ‘Hello, Dolly!”,) and his graceful, seemingly effortless execution of the choreography is reminiscent of Gene Kelly. Matthew Broderick could be another Donald O’Conner if given the chance. And if the success of films like this and “Chicago” are any indication that the American Musical is on the rebound, Broderick could well become the first teen-idol-turned-Broadway-legend, right up there with Tommy Tune. Given his talents, Broderick could have easily made this ‘his film’ but instead kept his performance restrained and allowed it to remain an ensemble effort. 

Those who are die-hard Mel brooks fans will be warmed by Brooks’ subtle cannibalizing from his own past glories, such as the ‘walker dance’ (from ‘Silent Movie’) and the sneaking in of some of the tag lines from ‘Blazing Saddles’ and ‘History of the World: Part One’. And the wonderful cameo appearance of David Huddleston as the judge, (whose line, “Aw, blow it out your ass, Howard” in ‘Blazing ‘Saddles’ drew hysteria in theaters,) brought to mind Huddleston’s short-lived television series, ‘Hizzoner’ in which he played a Justice of the Peace. And, in keeping with the tradition Alfred Hitchcock began by appearing briefly in each of his films, Brooks does make a short appearance. The outtakes and deleted scenes and especially the behind-the-scenes footage make this well worth the purchase price. 

All in all, “The Producers” is Brook’s masterpiece. It breaks all the rules, and in doing so provides the viewer a thoroughly delightful experience. I hope my kids get it for me for Father’s day! 

Till next month, gang!