'The Producers' review
My friend Mike has been involved in the theatre community here in Toronto for some years now so I would consider him somewhat of an authority on musical theatre. That, and it was down to him and that other sniffling little whatsit for the role of young Dr. Evil in Austin Powers: Goldmember. So when he told me he had seen the latest screen rendition of Mel Brooks' 'The Producers' I asked him nicely to write a review. And lo, he beget a review. Read on...
I WANNA BE A PRODUCER!
Hollywood has a long history of movie musicals. Some of them have been successes, both critically and financially (West Side Story, Cabaret, Chicago, for example) and some definite misses (Brigadoon, The Phantom Of The Opera, Guys And Dolls starring Marlon Brando), and these days, it seems like Tinseltown is perfectly content taking legitimate stage shows, and trying to put them up on the big screen. In 3 years, we have seen Chicago, RENT, and can expect Hairspray this time next year. Rumours have swirled around Wicked making it’s way to the big screen. These shows have proved to be box office gold on the Great White Way, with RENT, Hairspray, and Wicked all playing to capacity houses in New York and across North America on tour. But none, and I mean none of these shows can hold a candle to the box office smash “The Producers”.
The show, based on the Mel Brooks film from 1968 starring Zero Mostel and Gene Wilder as a pair of misfit theatrical producers trying to make a fortune by putting on a flop, with little success. The musical version of the film came out in 2001, with Nathan Lane and Matthew Broderick recreating the roles made famous by Zero and Gene respectively. The show sold out it’s initial run in days, and when the Tony Awards came around, “The Producers” cleaned up, winning Best Musical, Actor, Supporting Actor, Supporting Actress, Best Director, Best Choreography, and many more. Now, stage director Susan Shulman (best known for her dance sequences in the snoozer film Center Stage) and producer Mel Brooks has transformed the stage musical into a film. Again. Starring original Broadway stars Lane and Broderick, along with Uma Thurman (stepping in after Nicole Kidman pulled out of the project) and the incomparable Will Ferrell as the Nazi, Franz Liebkind. Gary Beach and Roger Bart round out the cast.
Having seen the show when it played its all too brief run here in Toronto with Sean Cullen and Michael Therrieult (Golum in the upcoming LOTR musical), I was beaming with anticipation to see this film, especially with the incredible musical cast they had lined up for the project. However, being an avid fan of the original film, I was worried that the show wouldn’t carry over as well as the original – and I was sorely mistaken. From start to finish, this is a movie musical for the ages. While it might not get any nods come Oscar time (although I think Lane and Broderick should receive some mention), the fan of the ol’ time movie musical won’t walk away from this version unhappy.
Filled with songs written by Brooks, Lane and Broderick handle the vocals with ease, and they remind me at times of The Odd Couple up on the screen (which, btw, is the show they are currently starring in on Broadway) as their characters are polar opposites of one another. A down and out greedy producer (Lane) and a sheepish accountant (Broderick) who walks around with a chunk of his baby blanket with him for security. Will Ferrell steals almost every scene he’s in, and plays the crazy Nazi to a “T”. Gary Beach and Roger Bart are hilarious as theatrical director Roger DeBris and his common law assistant, Carmen Ghia. At times, Uma Thurman is remarkable as Ulla, a Swede that the Producers hire to “help out around the office”, and at others, is disappointing, mostly when it comes to singing her songs, including “When You Got It, Flaunt It”. It’s apparent that Uma did her own vocals, and she just can’t match up with anyone else in the cast for strength and quality. Too bad. She looks great in her slinky dresses, and moves well in all the dance sequences.
This is not your typical movie musical. Instead of having the actors use the songs to further their own agendas as they sing to each other, a good majority of the songs are sung directly to the audience – much like the stage version does, and brings us into the story that much further. Also, a lot of the music takes place in the show itself, including the songs “Springtime For Hitler”, and “Heil Myself”, which will have you in stitches.
Cameos abound in the film, including Andrea Martin, Jon Lovitz, Thomas Meehan (the writer of the book for the show), Debra Monk, Brad Oscar, Brent Barrett, and Jai Rodriguez. Most of these names mean nothing to a general audience, but to the avid theatre fan, it’s amazing to see the abundance of talent involved in the film. While Mel Brooks doesn’t make an appearance, his voice does…when you see it, listen carefully and try to figure out where he dubbed himself in (like he did in the original film, and the stage show). Stroman does a fantastic job directing this film, and for a rookie filmmaker, she should be commended for her work.
If “Chicago” opened the door to the 2nd coming of the Hollywood movie musical, “The Producers” will not only keep that door open, but will knock it down, hopefully paving the way for more high quality, entertaining musical films to be made in the years to come.
P.S. Stay until the end of the credits. Trust me.
Official sites Sony with Flash embedded trailer and Universal with a different trailer in QuickTime.
