Written and directed by Mel Brooks, The Producers is the story of a Broadway producer who teams up with an accountant in financing a sure-fire flop hoping to make money out of the flop and live happily. The film is a look into two different men who team up to find a flop as their choice would prove to be something that might offend so many in the hopes they can succeed by creating a Broadway bomb. Starring Zero Mostel, Gene Wilder, Kenneth Mars, and Dick Shawn. The Producers is a whimsical and lively film from Mel Brooks.
The film follows the life of a washed-up Broadway producer who hears his accountant talking about the ideas of making money in investing a flop where the two come together to find a sure-fire flop as they choose a play written by a former Nazi called Springtime for Hitler. It’s a film with a simple premise in which two men decide to take part in a scheme in the hopes they can make some serious money but the journey in finding the flop, getting the worst director to helm the play, and get a terrible cast would prove to be hard. Mel Brooks’ screenplay play into this unlikely partnership between the producer Max Bialystock (Zero Mostel) and the account Leo Bloom (Gene Wilder) as the former coaches the latter in what it takes to raise funds and such while convincing the Nazi playwright Franz Liebkind (Kenneth Mars) to have his play be made with the help of the notoriously-flamboyant director Roger De Bris (Christopher Hewett). It all play into this scheme where Bialystock and Bloom take careful planning into as it would culminate in the opening night where they hope to unleash the mother of all Broadway bombs.
Brooks’ direction is quite straightforward in terms of the compositions and setting as much of the film is shot on location in New York City with some of its interiors shot at the Chelsea Studio in the same city. While there are some wide shots including a key scene at the Metropolitan Opera House, much of Brooks’ direction rely on close-ups and medium shots to play into the interaction of the protagonists and the adventure they take. At the same time, Brooks would infuse elements of life-hearted banter as it relates to the nerve-stricken Bloom and the aggressive Bialystock where they encounter so many things. Brooks would also put in some moments that are funny such as a Swedish receptionist named Ulla (Lee Meredith) whom they hire just so she can wear skimpy clothes and dance. When the character known as L.S.D. (Dick Shawn) comes into the picture to audition for Hitler, the humor would amp up into the film’s climax for the play’s opening night. Yet, its aftermath that would lead to the funnier moments as it relates to the reaction of Springtime for Hitler and what the audience would see whether Bialystock and Bloom’s scheme would work. Overall, Brooks creates a witty yet exhilarating film about two Broadway producers trying to cash in by financing a sure-fire flop.
Cinematographer Joseph Coffey does excellent work with the film’s cinematography as it is straightforward and colorful for many of the scenes in the day as well as the way the play is presented in its lighting. Editor Ralph Rosenblum does nice work with the editing as it is straightforward with some rhythmic cuts to play into the humor. Production designer Charles Rosen and set decorator James Dalton do amazing work with the look of Bialystock and Bloom’s office as well as the staging of the play. Costume designer Gene Coffin does fantastic work with the lavish costumes from the dress that De Bris wear as well as the costumes at the play. Sound editor Alan Heim does terrific work with the sound as it is straightforward to play into the atmosphere of the crowds at the play. The film’s music by John Morris is wonderful for its playful orchestral score that add a lot to the film’s humor as it include a few original songs by Mel Brooks such as the titular song to the play.
The casting by Alfa-Betty Olsen is great as it feature some notable small roles from William Hickey as a drunk at a bar, Renee Taylor as an actress playing Eva Braun, Madelyn Cates as a landlord claiming to be a concierge, Barney Martin as an actor playing Hermann Goring, Andreas Voutsinas as De Bris’ assistant Carmen, Estelle Winwood as one of the old ladies that Bialystock woos to get her money, and Lee Meredith in a funny performance as the very attractive receptionist Ulla. Christopher Hewett is superb as the flamboyant and openly-gay play director Roger De Bris who cares more about extravagance rather than the story. Dick Shawn is hilarious as L.S.D. as a singer who auditions to play Hitler as he acts like a Beatnik of sorts as he consistently brings in the laughs.
Kenneth Mars is excellent as Franz Liebkind as the author of Springtime for Hitler as this former Nazi who wrote the play to show Adolf Hitler in a different light while being furious if things don’t go his way. Finally, there’s the duo of Zero Mostel and Gene Wilder in incredible performances in their respective roles as Max Bialystock and Leo Bloom. Mostel brings an energy and determination to his role as a man that is willing to humiliate himself to pleasure old ladies as well as deal with the struggles of being a producer. Wilder is definitely the funnier of the two in the way he is wracked with nerves as he comforts himself with a tiny piece of his blanket as well as display this abundance of energy that had been repressed in him. Mostel and Wilder are a joy to watch in the way they interact with each other as well as be foils to each other.
The Producers is a phenomenal film from Mel Brooks. Featuring a great cast, a witty story, some catchy songs, and an abundance of funny moments that are fun to watch. The film is a whimsical comedy that play into two men trying to pull a scheme by choosing the worst story ever in the hopes they can make money. In the end, The Producers is a spectacular film from Mel Brooks.
Mel Brooks Films: (Twelve Chairs) – Blazing Saddles - Young Frankenstein - (Silent Movie) – High Anxiety - (History of the World Pt. 1) – Spaceballs - (Life Stinks) – Robin Hood: Men in Tights - (Dracula: Dead and Loving It)
© thevoid99 2018
Based on the novel by Richard Adams, Watership Down is the story of community of rabbits who are being threatened by modern forces in a dystopian world. Written for the screen and directed by Martin Rosen, the film is a look into the concept of the Apocalypse from the viewpoints of rabbits as the film is narrated by Michael Horndern. Featuring the voices of John Hurt, Richard Briers, Denholm Elliott, Ralph Richardson, Simon Cadell, Michael Graham Cox, Harry Andrews, and Zero Mostel. Watership Down is a gripping and mesmerizing film from Martin Rosen.
Set in a modern world, the film revolves a group of rabbits who are forced to flee their home and find a new one after one of them has an apocalyptic vision. Along the way, they contend with the harsh world of nature as well as other creatures and a community of rabbits who represent a totalitarian view of the world. It’s a film that is sort of a dystopian film but it’s also a film about survival as these rabbits not only cope with the reality of man destroying their land for themselves but also realize what they have to do to ensure their own survival as it relates to female rabbits. Martin Rosen’s script doesn’t just emphasize a lot on survival but also the idea of a community that is free and doesn’t want to adhere to rules that are suppressive. It also opens with a fable about the species of the rabbit and why they’re considered prey in the animal food chain which does add a lot into their quest for survival.
Rosen’s direction is quite intoxicating in not just the way he creates these dazzling images set against the backdrop of the English countryside. It also has this sense of style in the animation that is very engaging with an air of realism that makes it more ravishing in its look. With the aid of animation director Tony Guy and supervisor Philip Duncan, the look of the two-dimensional, hand-drawn animation does bring a lot of life to not just the look of the characters but also in the way these rabbits deal with their situations including some very dark moments involving violence. The fact that it’s an animated film that has this very realistic and gripping take on violence with images of blood does manage to bring a lot of weight into the film as well as the theme of survival. The film opens with a sequence that was helmed by the film’s original director John Hubley (who died during production) which is presented in a more innocent fashion as it relates to the fable of the rabbits including its main figurehead who would create that sense of tension between rabbit and other animals.
The direction also create these intense imagery that play into the idea of death and terror thanks in part to some dazzling sequences created by Luciana Arrighi for moments that do play into what one of the rabbits see. With the aid of layour artists Gordon Harrison, Peter See, and Ted Pettengell, the film maintains that look of the countryside as well as the look of the rabbit holes to play into where the rabbits want to seek shelter. It also would add to the film’s climax as it relates to the group of totalitarian rabbits led by half-blind general battling against a rabbit who briefly joined the group as a spy in the hope he can get the group of female rabbits to join his community and feel free. Rosen would also maintain a sense of atmosphere that plays a lot into the drama as the animation would feature these gorgeous images of rain as if they look real but in some of the intense moments as it relates to its climax. Overall, Rosen creates an evocative and riveting film about a community of rabbits trying to survive in finding their new home.
Editor Terry Rawlings does brilliant work with the editing as it is very straightforward in terms of some of the rhythmic cutting that plays out in the film‘s suspenseful and dramatic moments. Sound effects mixer Ray Mervin does excellent work with the film‘s sound effects in the way thunderstorm sounds as well as the way machines sound in some scenes. The film’s music by Angela Morley and Malcolm Williamson is amazing for its orchestral-based score that adds a lot to the dramatic and suspenseful moments of the film with additional work by music director Marcus Dods in supervising the soundtrack that includes the song Bright Eyes by Mike Batt and sung by Art Garfunkel for one of the film’s mesmerizing moments.
The film’s incredible ensemble voice cast features contributions from narrator Michael Hordern in one of the runaway rabbits in Frith, Joss Ackland as the mysterious grim reaper-like character in the Black Rabbit, Hannah Gordon as a female rabbit who is enslaved by the totalitarian group in Hyzenthlay, Denholm Elliott as a rabbit leader the group meets in Cowslip, and Harry Andrews as the evil leader of the totalitarian rabbits in Woundwort. Zero Mostel is fantastic as a wounded gull named Kehaar who would be an ally to the group of rabbits while Ralph Richardson is superb as the group’s old chief who doesn’t believe in one of the visions that a rabbit claims to see.
John Bennett is excellent as an aging rabbit who was an associate of the chief who later joins the group after his own dangerous encounter. Richard Briers is brilliant as Fiver as the one who sees these strange visions as he gets help from his brother in aiding the escape. Michael Graham Cox is amazing as Bigwig as the toughest rabbit who was close to their leader as he aids the community in many ways. Finally, there’s John Hurt in a phenomenal role as Hazel as Fiver’s big brother who helps his brother in the escape while being the unlikely leader as well as the one that is willing to rally everyone and provide the plans to escape and such.
Watership Down is a sensational film from Martin Rosen. Featuring a great voice cast, gorgeous visuals, top-notch animation, and a fantastic score, the film isn’t just a gripping animation film that appeals to more than just children but also offers a glimpse into the world of totalitarianism and dystopia into a setting that is simple and to the point. In the end, Watership Down is a tremendous film from Martin Rosen.
© thevoid99 2016
Written, directed, and narrated by Woody Allen, Radio Days is about the life of an American family during the Golden Age of Radio where a man recalls his childhood during the late 1930s. The film explores the world of nostalgia and childhood innocence as it plays to a period in time when people gathered to find an escape from their dreary lives. Also starring Mia Farrow, Dianne Wiest, Seth Green, Michael Tucker, Tony Roberts, Julie Kavner, Danny Aiello, Jeff Daniels, and a special appearance from Diane Keaton. Radio Days is a ravishing yet heartfelt film from Woody Allen.
The film is about a man named Joe recalling his life as a child (Seth Green) in the late 1930s and early 1940s during the Golden Age of Radio. Notably as he thinks about a time when families gathered to listen to the radio for different programs as he was one of those families living in Rockaway Beach in New Jersey with his parents (Michael Tucker and Julie Kavner) and relatives including his aunt Bea (Dianne Wiest). During these years, young Joe would go through many moments in his life impacted by the radio including the attacks on Pearl Harbor and all sorts of things while the older Joe would also talk about the tumultuous life of a woman named Sally White (Mia Farrow) who would eventually become a star in the radio.
Woody Allen’s screenplay is told in a reflective manner as he does the voice of the older Joe as a man who is fascinated by that period when he was a kid. Notably as he recalls the many different programs the people in his family listen to whether it’s sports, soap operas, or comedies that they listen to while Joe’s favorite program is the Masked Avenger. Allen moves the narrative back-and-forth from Joe’s childhood adventures to the story of Sally White as she goes from working at a nightclub to becoming a radio star in the span of a few years. Both narratives would play into major developments where Joe would deal with a lot of the changes in his life as would Sally who starts off as this dim-witted woman into an actress of the radio.
Allen’s direction definitely recalls some of the visual ideas but also the sensibility of Federico Fellini. Notably in capturing the idea of nostalgia and the innocence of youth as it is told from the perspective of a man thinking about a special moment in time. A lot of contains moments of great humor including a scene where young Joe and some friends try to look for Nazi planes and U-boats only to get a glimpse at a naked woman. There’s also moments where there’s some suspense but also in a comical moment involving Sally and a mob hitman (Danny Aiello) where she witnesses a murder as she pleas to not kill her where a lot of sweet moments happen. There’s also a sequence involving a moment of tragedy through the radio where it would play into an entire family coming together despite all of their dysfunctional aspects.
It all plays to something that Allen wanted to recapture in that period where people gathered to listen to something and talk about with friends and family. Especially in a period where technology was primitive and wasn’t as distracting. There’s a sadness that is prevalent in Allen’s narration over the fact that everything he’s telling are based on what his character remembers as it plays into that moment that will never be replicated. Even in scenes set in New York City where it is grand and full of life that carries a similarity to the moment Joe’s family are in this little house as they’re also having fun. Overall, Allen creates a very majestic and exhilarating film about nostalgia and the innocence of childhood.
Cinematographer Carlo Di Palma does fantastic work with the film‘s gorgeous cinematography from many of the colorless yet vibrant cinematography of the New Jersey exteriors to more exquisite lighting schemes for some of the posh interior settings. Editor Susan E. Morse does brilliant work with the editing to find ways to help the narrative move back and forth while using some rhythmic cuts to play out its humor. Production designer Santo Loquasto, with art director Speed Hopkins and set decorators Carol Joffe, Leslie Bloom, and George DeTitta Jr., does fabulous work with the set pieces from the cramped intimacy of Joe’s home as well as the look of Rockaway Beach, New Jersey to some scenes in New York City including the nightclub rooftop.
Costume designer Jeffrey Kurland does excellent work with the costumes to create that period in time from the fashionable clothes that Bea wears to the many different dresses that Sally wears. Sound editor Robert Hein does terrific work with the sound to create layers of mixing for the way the radio sounds from its soundstage to the people listening to it. Music supervisor Dick Hyman creates a very dazzling soundtrack that features a lot of the music of the times from Glenn Miller, Tommy Dorsey, Duke Ellington, Guy Lombardo, Benny Goodman, Artie Shaw, and many others.
The casting by Juliet Taylor is amazing for the ensemble that is created as it features appearances from William H. Macy as a radio actor, Todd Field as a crooner, Don Pardo and Tony Roberts as radio hosts, Wallace Shawn as the voice of the Masked Avenger, Kenneth Mars as Joe’s rabbi, Larry David as a Communist neighbor, Jeff Daniels as revered radio actor Biff Baxter, Danny Aiello as mob hitman Rocco, Sydney Blake as the naked woman Joe and his friends saw, and Diane Keaton as the New Year’s Eve singer in the film’s final moments. Other notable performances include Zero Mostel as Joe’s uncle Abe, Renee Lipin as his aunt Ceil, Leah Carey and William Magerman as Joe’s grandparents, and Dianne Wiest in a wonderful performance as the dreamy Aunt Bea who is always searching for love.
Michael Tucker and Julie Kavner are great as Joe’s parents as a couple who often bicker towards each other as they also love each other no matter how much they get on each other’s nerves. Seth Green is excellent as the young Joe as a kid who is amazed by his surroundings as Green brings a sense of charm and energy to his role. Finally, there’s Mia Farrow in a remarkable performance as Sally White as an aspiring actress who starts at the bottom being a mistress for a radio star to finally becoming one as Farrow brings a lot of humor and strange voice accents to her character.
Radio Days is a magnificent film from Woody Allen. Armed with a great cast and an engaging yet touching theme on nostalgia, it is a film that is definitely one of Allen’s most entertaining and heartfelt films. Notably as it showcases a place in time where the radio brought people together. In the end, Radio Days is a triumphant film from Woody Allen.
Woody Allen Films: What's Up Tiger Lily? - Take the Money & Run - Bananas - Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) - Sleeper - Love and Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer's Night Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - September - Another Woman - New York Stories: Oedipus Wrecks - Crimes & Misdemeanors - Alice - Shadows & Fog - Husbands & Wives - Manhattan Murder Mystery - Don’t Drink the Water - Bullets Over Broadway - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet & Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra’s Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - Irrational Man - (Cafe Society)
The Auteurs #24: Woody Allen Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4
© thevoid99 2013
