The Producers
Susan Strohman brought this musical stage adaptation of the 1968 Mel Brooks film to Broadway in 2001 and the entire universe simply had to have it. Now Strohman brings exactly that show (but with a few more locations) to the big screen. It’s like the fanciest A&E/BBC presentation of a stage hit ever made. When I say exactly that show (I did only see the touring production but still), I mean, the stage show, complete with head-turning poses for reaction shots, follow spot operators during a gooey love number, and (I swear) pauses for laughter. Well, to be honest, it had a lot of classic 1940s and 1950s movie musical look to it as well. (Think Singing In The Rain.) Robin Wagner designed the show and took those sets right to the film studio, but he did contribute to the additions as well. The cameras are stationary, gazing upon two walls of any given room, never passing through doorways or panning more than 90 degrees to one side. The lights are colorful, rich, full, and all over the place (but invisible). The actors are enormously hammy, in the way that audiences have creamed their jeans over and hocked their jewels in order to enjoy since the show opened.
So, does that mean it’s a good movie? If you have never seen musical theatre performed live, or if the old Hollywood musicals are surreal confections of horror to you, then you should not, repeat NOT see this movie. The 2005 film version of the 2001 stage version of the 1968 film of the Producers is so incredibly self-reflexive at this point, so purposefully nodding at the legacy that brought it to the screen, that unless you have a dial in your aesthetic for this kind of entertainment, it will turn you right off. That said, if you are any kind of self-respecting theatre or movie musical geek, you will love it (so bump it up to Matinee for you folks).
I actually liked it better than the touring show that I saw; this could be the inimitable Nathan Lane and Matthew Broderick chemistry, and it could also be a reason related to the supporting cast (I’ll get to them in a minute). When I saw the stage show, I knew that the actors, bless them (and they weren’t the ones LA got to see either) were trying to fill some big shoes, but I had heard all the songs before and so those jokes had already shot their wad on me. All that was left was brilliant set pieces and hilarious staging, which that production had like crazy. This film, however, somehow made the big numbers fresh again. Whether that was through the extended freedom of having two million chorus members instead of 10, or having great locations like the fountain from the 1968 film, or the “new” supporting cast, whatever happened, I liked it.
Uma Thurman and Will Ferrell replace the original cast members from the show (including, controversially, Tony nominee Brad Oscar as Franz Liepkind). Initially I balked at such blatant studio interference, disgusted with their dismissal of cast members who had performed so admirably onstage when making a film version. They kept the Tony winner Gary Beach (Roger DeBris) and nominee Roger Bart (Carmen Ghia) (and they are delightful). However, Uma and Will brought something new and exciting to the table: their newness and enthusiasm. Consummate professionals Lane and Broderick may be, and experienced film actors as well, but they felt more as if they were being bronzed by the making of this film, whereas Uma and Will approached it like they were getting their first big break. They were a splash of color in a well-staged, well-directed, but strangely flat splashy movie musical. I was even disappointed in the onscreen production of “Springtime for Hitler” which was nowhere near as gaudy and decadent as the touring company’s version, and focused more on DeBris’ embarrassing fey swishiness. Mel Brooks knows what makes people laugh (and knew even better back before the Reagan era) but when you have two movie studios footing the bill and an impeccable staff, can’t you make the pivotal comedic scene in a classic, crass, racist, avaricious, lascivious, campy, satirical story more than being about how hilariously gay people walk?
MPAA Rating PG-13
Release date 12/25/05
Time in minutes 134
Director Susan Stroman
Studio Universal/Columbia
