The few opening
scenes of The Producers were
so painfully over the top, and borderline scary, that
it had me a little embarrassed that I drug all my friends
to see the movie, boasting that it was a famously loved
Broadway production.
The film opened with Nathan
Lane knocking the boots
with some old ladies for money, and some seriously
creepy acting on the part of the usually adorable Matthew
Broderick, that made me wonder if Mr. Ferris Beuller shouldn’t
have taken so many days off.
As
the movie progressed, however, the humor developed
more effectively in each of the characters, and actually
became one of the funniest movies this year.
The humor of the film was not in the script,
but in the wacky, and often dirty behavior of the actors. Many of the characters in the play displayed
polar personalities, and their contrasts and comparisons
gave the humor more intensity. It
proved that big, stupid, Chris Farley type laughs are
still thriving.
The general story line involves a washed
up producer named Max Bialystock (Nathan Lane), and
his unlikely friendship with his accountant, Leo Bloom
(Matthew Broderick). This
combo, which could be beginning to seem cliché,
utilized the classic partnership of a fat, dirty slob
and a smart, skinny, nerd.
Although we’ve seen the “odd couple” one
too many times, it keeps popping up in films and T.V.
because it works so well.
While the character of Bialystock was a perfect fit for the outspoken, double-chinned Nathan
Lane, Broderick’s
portrayal of the blanket-sniffing obsessive compulsive
Bloom was somewhat disappointing, and a little bit
frightening.
In the story, Bloom discovers while perusing Bialystock’s not-so-impressive
finances that with a little tweaking, and some avoidance
of the IRS, a producer could actually make more money
on a play that was a flop than one that was a hit.
Driven by the endless hole in his empty
wallet, Bialystock’s big
mouth waters over the idea, and he convinces Bloom
to go into business with him.
In a series of silly adventures, which are
seriously only funny because they included the brilliant
Will Ferrell, the two producers locate the worst play
ever written – “Springtime for Hitler” by
Franz Leibkind (Ferrell),
and the worst director that ever lived – Roger
De Bris (Gary Beach) and
begin production.
There is no question that these somewhat
smaller and secondary characters are the most outrageous
and best part of the film. I
found myself laughing on and off throughout the movie,
but the cramps in my jaw didn’t start appearing
until I saw Ferrell saluting a bunch of pigeons and
Beach fruitly dancing around in a Hitler outfit.
“Springtime for
Hitler” was written as a nod to the Third Reich,
and the producers expected it to be an outrage to its
viewers. But
when the producers select director Roger De Bris to
play Hitler, it becomes a brilliant satire with a homosexual
twist.
The choreography in the dance numbers was
bold and gorgeous, with brilliant color and light. With a somewhat limited and conservative
set of props, the cinematography shined, making some
aesthetically beautiful scenes.
The two producers are eventually discovered
by the IRS and put in jail for fraud, along with author Leibkind. While
imprisoned, they produce another play by Leibkind,
which they put on Broadway when they are released.
A small and somewhat insignificant love
story is woven between Swedish actress and temptress Ulla (Uma Thurman) and Bloom. Although it was the cause of some blushing
and giggling in the theater, its sole purpose was to
accent Bloom’s and Bialystock’s man crushes on one other.
When their plan is discovered by the IRS, Bialystock is
found and jailed first. Ulla convinces
Bloom not to turn himself in, take the team’s
money, and run away with her to Rio. However,
Bloom returns for Bialystock’s trial,
and gives himself up in a touching number about the
depth and importance of their friendship.
There’s nothing all that moving or
life-altering in this movie, but if you want to choke
on your popcorn because you’re laughing so hard,
check it out. |
