An Acefully Produced Movie

Greetings, mein reader. Today we'll discuss a 1967 film. It inspired a record-breaking, long-lasting, lauded, 2001 musical. The film eventually averted vexing and garnered itself a cult following. Respect, too. It's incredibly tawdry, and I absolutely adore it. We'll be lauding Mel Brooks' The Producers.

This film's budget was miniscule, but the filmmakers were feasible at executing its production values. The movie has NYC location-footage and skillfully contrapted scenery by Charles Rosen/James Dalton (with effective usage use of yellow). John Morris definitely knew how to compose and conduct a score. Mel supplied a duo of notable songs. Joseph E. Coffrey was crafty at shot-framing, as was Ralph Rosenblum at film-assembling. The costuming, overseen by Gene Coffin, was fantastically crafted.

Alfa-Betty Olsen prospered as a casting-director. Brooks' voice materializes in the film. There's a ton of jocular bit players! Examples include Renee Taylor, William Hickey, Barney Martin, Zale Kessler and John Zeller. Estelle Winwood portrayed a lovesick old lady brilliantly. Lee Meredith's a blast as Ulla, a Swedish bombshell. Andreas Voutsinas was apt at following direction and portraying Carmen Ghia. Understandably, Christopher Hewett immediately secured the role of Rodger De Bris ('cause he was glorious). Dick Shawn's L.S.D. was uproarious at performing Love Power and lampooning the fuhrer. Kenneth Mars demonstrated immense dedicated as Franz Liebkind. Zero Mostel and Gene Wilder were outstanding at carrying this film! Their chemistry's undeniable. They portrayed Max Bialystock and Leo Bloom peerlessly.

Mel Brooks had a meritable concept for a film. The premise was conceived and enacted beautifully. Life imitated art. The principal duo of characters headlined the movie durably. As it progresses, they're staggering as foils to the quirky side-characters. This film's gags are penned, built-up, delivered and paid-off phenomenally. Springtime for Hitler's opening number is joyous. Leo's speech (co-written by Wilder) is so genuine. The movie's ended perfectly, too. Mel paced the picture practically and knew how to properly execute crude humor. Even though this was Brooks' directorial debut, the picture's skillfully directed.

Thank you to Sidney Glazier and Joseph E. Levine for greenlighting Mel's vision. Brooks' efforts resulted in a hysterical motion-picture. You oughta sus it out. Personally, I'd like to thank Mel for the film's message. I've been struggling at tuning-out reprehensible people. However, it's refreshing to be reminded that they can be stopped by the effects of laughter.