Based on the novel Addie Brown by Joe David Brown, Paper Moon is the story of a con man who reluctantly teams up with a young girl who could be his daughter as they go on the road to make money. Directed by Peter Bogdanovich and screenplay by Alvin Sargent, the film is a road film of sorts meshed with the caper film set during the Great Depression in Kansas where a man and a young girl team up and con people out of their money. Starring Ryan O’Neal, Tatum O’Neal, Randy Quaid, and Madeline Kahn. Paper Moon is a rich and witty film from Peter Bogdanovich.
The film revolves around a con man who attends a funeral for a woman he knew as he’s asked to take the woman’s daughter to St. Joe, Missouri from Kansas to her aunt as they go on a road trip where they con people and make money. It’s a film that blends all sorts of genres revolving around a man and a nine-year old girl during the Great Depression as they team up to make money and swindle people out of it. It’s an unlikely partnership between two people who don’t really know each other but they end up bringing the best in each other when it comes to making money. Alvin Sargent’s screenplay explore this unique dynamic between the con man Moses “Moze” Pray (Ryan O’Neal) and this young girl named Addie Loggins (Tatum O’Neal) who definitely don’t want to do anything with each other at first though Addie needs a ride to St. Joe, Missouri. Yet, the money that Addie is owed to for the loss of her money would be in Moze’s hands as she wants that money.
Upon realizing what Moze does, she gets in the act of conning people out of money as Moze reluctantly makes her his partner-in-crime where the two create an act of selling bibles to recently-made widows. Addie would learn the trade of swindling people out of money while pretending to be Moze’s daughter as they would make money. The partnership would be threatened in the second act when Moze meets the exotic dancer Miss Trixie Delight (Madeline Kahn) whom Addie doesn’t like as she realizes what Miss Trixie is and how easy it is to con her. One of the Addie’s unique traits about her character is how to read and observe people as it is among her strengths in conning people and helping Moze while Moze is someone that is quite flawed as he’s quite careless in those he con as well as towards Addie at times. The third act isn’t just about the two dealing with failure but also biting more than they can chew when it comes to conning other people.
Peter Bogdanovich’s direction is definitely stylish not just for the fact that it’s shot in black-and-white but it’s also for playing into a period in time that was quite tough but also with a sense of hope. Shot on various locations in Kansas and Missouri, Bogdanovich’s usage of wide shots with the widescreen format definitely capture a great depth of field into the landscape filled with field and some dry locations as well as the way he would shoot characters into a wide shot. Bogdanovich’s usage of medium shots and close-ups would play into the relationship between Moze and Addie where there’s a lot of scenes shot in whatever car they’re in or at a motel room. There are also moments that are quite comical as it relates to the way Addie would help Moze in his scheme or how she would con a cashier over money claiming she gave her a $20 when she really gave her a $5 bill. Bogdanovich would take his time show how Addie would create that scheme as it has this sense of thought and planning as Bogdanovich would shoot things from her perspective and observation.
Another aspect of Bogdanovich’s evocative approach in the direction is where he also play into the things that would play into this kind of rise-and-fall scenario for these two beginning with Moze’s meeting with Miss Trixie. The scenes with Miss Trixie and her maid Imogene (P.J. Johnson) that are very funny where the latter would befriend Addie as she knows what is going on. The third act is a bit darker in terms of the people that Moze and Addie would encounter as well as the fact that the former’s luck and way to charm people doesn’t work as it does add to some reality which includes a chase scene shot in a long dolly-tracking shot. Even as it also play into the developing relationship between Moze and Addie where they find this unlikely dynamic in a father-daughter duo. Overall, Bogdanovich creates a riveting yet lively film about a con man who teams up with a young girl to swindle money out of people during the Great Depression.
Cinematographer Laszlo Kovacs does incredible work with the film‘s black-and-white photography in capturing the beauty of the landscapes as well as the usage of lights and shadows for some of the interior/exterior scenes set at night. Editor Verna Fields does excellent work with the editing as it is largely straightforward with some jump-cuts to play into some of the action. Production/costume designer Polly Platt, with set decorator John P. Austin, does brilliant work with design of the motel sets and some of the props that were used in those times as well as the costumes from the clothes that Addie wears as well as the lavish stuff of Miss Trixie. Sound editors Kay Rose and Frank E. Warner is superb for its low-key and naturalistic sound as it play into some of the events in the location and the humor. The film’s music soundtrack consists of the music of the times like ragtime, country-western, and pop as well as some radio programs from Jack Benny.
The casting by Gary Chason is great as it include some notable small roles and appearances from Randy Quaid as a hillbilly named Leroy, Yvonne Harris as a widow that would pay more money for a bible due to Addie’s suggested fee, James N. Harrell as a minister in the film’s opening funeral scene, P.J. Johnson as Miss Trixie’s young maid Imogene, and John Hillerman in a dual role as a bootlegger and his deputy brother. Madeline Kahn is brilliant as Miss Trixie Delight as an exotic dancer at a carnival who woos Moze and spend his money as this early definition of a gold-digger. Finally, there’s the duo of Ryan and Tatum O’Neal in phenomenal performances as Moses “Moze” Pray and Addie Loggins, respectively. Ryan’s performance as Moze is this man who is quite good at what he does but doesn’t see the big picture as he’s more concerned about making and spending money. Tatum’s performance as Addie is definitely the highlight as she is this young girl that is fully aware of what is going on as she’s much smarter than Moze but is also a troublemaker who likes to smoke cigarettes. The O’Neals together are a joy to watch together in the way bring the best in each other through funny and dramatic moments.
Paper Moon is an outstanding film from Peter Bogdanovich that feature tremendous performances from the real father-daughter duo of Ryan and Tatum O’Neal. Along with gorgeous visuals, Alvin Sargent’s witty screenplay, and a fantastic supporting ensemble cast, it’s a film that showcases what two people could do to make money and bring out the best in each other. In the end, Paper Moon is a spectacular film from Peter Bogdanovich.
Peter Bogdanovich Films: Targets - (Voyage to the Planet of Prehistoric Women) - (Directed by John Ford) - The Last Picture Show - (What’s Up Doc?) - (Daisy Miller) - (At Long Last Love) - (Nickelodeon) - (Saint Jack) - (They All Laughed) - (Mask (1985 film)) - (Illegally Yours) - (Texasville) - (Noises Off) - (The Thing Called Love) - (To Sir, with Love II) - (The Price of Heaven) - (Rescuers: Stories of Courage: Two Women) - (Naked City: A Killer Christmas) - (A Saintly Switch) - (The Cat’s Meow) - (The Mystery of Natalie Wood) - (Hustle (2004 film)) - (Runnin’ Down a Dream) - (She’s Funny That Way) - The Great Buster: A Celebration
© thevoid99 2017
Directed by Mel Damski and written by Graham Chapman, Peter Cook, and David McKenna with additional work by David Sherlock, Yellowbeard is about a pirate who goes on the search for his lost treasure while trying to avoid the Royal Navy who want to increase his 20 year tax evasion sentence by 140 years. The film is an offbeat comedy that has Graham Chapman in the titular role as he copes with changing times and other rivals trying to vie for the treasure. Also starring Peter Boyle, Cheech Marin, Tommy Chong, Peter Cook, Madeline Kahn, James Mason, Eric Idle, Peter Bull, Martin Hewitt, Michael Hordern, John Cleese, and Marty Feldman. Yellowbeard is a very silly but whimsical film from Mel Damski.
The film revolves a notorious pirate named Yellowbeard who had stolen some treasure from a Spanish despot only to eventually to captured and sent to prison for 20 years on tax evasion only to escape after learning his sentence has been extended to 140 years. Upon his escape, he learns from his estranged wife that he has a 20-year old son while stowing away on a merchant ship that had been taken over by his former first mate and a henchman. The film’s screenplay does have a straightforward narrative yet it is very messy as it relates to many of the situations that is happening as well as the multitude of characters involved that all want a piece of this long-lost treasure. Some of the characters are interesting but others such as Yellowbeard’s son in Dan (Martin Hewitt) aren’t so interesting as he is introduced to the world of piracy and the only reason Yellowbeard has him around because he has the map on top of his head.
Mel Damski’s direction is definitely all over the place in terms of trying to capture all of the natural elements of comedy as well as do whatever to keep the laughs going. Shot on location in England and the scenes on the beach set in Mexico, the film definitely plays into this very chaotic world of piracy where much of Damski’s compositions are straightforward but also playful. Still, the weak aspects of the script doesn’t give Damski a lot to do in creating scenes to help drive the story more in favor of trying to bring in as much laughs as he can. Some of it is very funny and definitely help create moments that are enjoyable yet there are moments where the attempt at humor feels forced. Even as it tries so much to really create something that is exciting and fun where it would succeed for some of the film’s climax but would also fall flat in some parts as it relates to Yellowbeard seeing women and raping them. Overall, Damski creates a worthwhile but very messy film about a pirate trying to reclaim the treasure that he had buried twenty years ago.
Cinematographer Gerry Fisher does excellent work with the cinematography as it play into the sunny locations of the beach and the island as well as some unique lighting for the scenes at night. Editor William H. Reynolds does terrific work with the editing as it mostly straightforward to play into the comedy and sense of adventure in the film. Production designer Joseph R. Jennings does brilliant work with the design of some of the interiors in the frigates as well as in the designs of some of the places in England and on the island. Costume designer Stephen Miles does nice work with the costumes from the ragged clothing of the pirates as well as the lavish clothing of the Spanish despot and his majordomo. Sound mixers Brian Simmons and Manuel Topete do superb work with the sound in capturing some of the action as well as the funny moments in the film. The film’s music by John Morris is wonderful for its bombastic orchestral score that play into the adventure as well as some of its humor.
The casting by Michael McLean is fantastic as it feature notable cameo appearances from Peter Bull as Queen Anne, Susannah York as Lady Churchill, Spike Milligan as a flunkie, and David Bowie as a shark. Other notable small roles include Greta Blackburn as a prostitute disguised as a naval officer, Beryl Reid as Lady Lambourn, Nigel Planer as Commander Clement’s aide Mansel, Stacey Nelkin as the despot’s daughter Triola, Kenneth Mars in a dual role as a naval officer and the despot’s torture machine creator Verudo, and James Mason in a terrific role as the naval officer Captain Hughes. John Cleese is terrific as a blind spy named Harvey Pew who works for the government and for anyone that pays him while Madeline Kahn is wonderful as Yellowbeard’s estranged wife Betty who told him about Dan and wants a share of the treasure. Michael Hordern is excellent as Dr. Gilpin who helps Yellowbeard in the quest while Peter Cook is hilarious as Lord Lambourn who also joins the journey as he has some funny moments.
Cheech Marin and Thomas Chong are superb in their respective roles as the Spanish majordomo and despot with Marin as an insubordinate who always insults his leader while Chong acts as a buffoon who thinks he’s a god. Martin Hewitt’s performance as Yellowbeard’s son Dan is really dull and awkward where he never does anything to make the character interesting as he‘s just there. Eric Idle is brilliant as Commander Clement as a Royal Navy officer who is determined to find the treasure and bring ruin to Yellowbeard as well as become a ruler of his own. Peter Boyle is amazing as Yellowbeard’s former first-mate Moon who betrayed Yellowbeard as he pretends to be a naval officer just so he can find the treasure and keep it for himself. Marty Feldman is great in his final film performance as Gilbert as Moon’s friend who escapes prison as he tries to do whatever to help Moon while being very funny in anything he’s in. Finally, there’s Graham Chapman in a crazed and fun performance as the titular character as it’s very over-the-top but it’s never dull as he just does whatever he can to bring laughs as well as be a very despicable yet fun character.
Yellowbeard is a good but very messy film from Mel Damski. While it does have a great ensemble cast and some funny moments, it’s a film that definitely isn’t for everyone in terms of its offbeat humor though it is entertaining no matter how messy it is. In the end, Yellowbeard is a fine film from Mel Damski.
© thevoid99 2017
Directed and starring Mel Brooks and written by Brooks, Barry Levinson, Ron Clark, and Rudy De Luca, High Anxiety is the story of a renowned psychiatrist who deals with mysterious circumstances at the institute he‘s been hired to fun while dealing with his fear of heights. The film is a tribute/parody of sorts to the films of Alfred Hitchcock, who also contributes to the film’s script, as it play into the world of suspense and horror but in a humorous fashion as it relates to the many situations this doctor would encounter. Also starring Harvey Korman, Cloris Leachman, Madeline Kahn, Ron Carey, Howard Morris, and Dick Van Patten. High Anxiety is a witty and exhilarating film from Mel Brooks.
The film revolves around a renowned, Nobel prize-winning psychiatrist who travels to Los Angeles to head a psychiatric institute after its head doctor had been mysteriously murdered where he would encounter a series of strange events. It is a film that follows many storylines made famous by the films of Alfred Hitchcock as well as play into the elements of suspense. Notably as this psychiatrist has a immense fear of heights as it’s an issue he hasn’t resolved as he’s aided by his old mentor who also works at the institute. The film’s screenplay isn’t just filled with many references to Hitchcock to form its own story but also has its own approach to suspense that is leaned towards comedy.
The fact that Dr. Richard H. Thorndyke (Mel Brooks) is dealing with his own issues makes him an easy target for two of the film’s antagonists in Nurse Diesel (Cloris Leachman) and Dr. Charles Montague (Harvey Korman) who want to control the institute for their own selfish reasons. It would lead to a plot where Dr. Thorndyke is put into situations where he meets a patient’s daughter in Victoria Brisbane (Madeline Kahn) who is convinced that her father is in danger. There is a cleverness to the script in not just the way the suspense is plotted but also in the characters as Dr. Thorndyke is often accompanied by chauffer in Brophy (Ron Carey) who often takes photographs for odd reasons. These are the many quirks that the writers would put in as they would also create scenes that would make fun of famous moments from Hitchcock movies.
Brooks’ direction doesn’t just provide a lot of the visual traits and motifs that is common with Hitchcock but also find ways to turn it into gags as well as provide little moments that accidentally breaks down the fourth wall. Shot in various locations around Los Angeles and San Francisco, Brooks definitely takes advantage of the locations which doesn’t just owe a lot to many of Hitchcock films with Vertigo being the most obvious. Still, Brooks finds a way to bring something of his own in not just a few gags but also some hilarious scenes such as a moment where he and Victoria try to get through the airport security through disguises as it is just a riot to watch. There are also moments that is very stylized for the fact that Brooks would take great advantage of low camera angles to play into the suspense and mix it up with humor as well as the way the camera would zoom in some scenes. It all plays into this humorous take of suspense as its climax isn’t just inventive but also very funny. Overall, Brooks creates a very delightful and entertaining film about a psychiatrist dealing with a mystery and his fear of heights.
Cinematographer Paul Lohmann does excellent work with the film‘s colorful cinematography from the usage of lights and moods for some of the scenes at night to the more naturalistic scenes set in the day. Editor John C. Howard does nice work with the editing as it is quite straightforward with some stylish cuts that play into the suspense and humor. Production designer Peter Wooley, with set decorators Richard D. Kent and Anne MacCauley, does brilliant work with the design of the institute and some of its rooms as well as some of the sets created as homage to the films of Hitchcock.
Costume designer Patricia Norris does fantastic work with the costumes from the clothes that Nurse Diesel wears to the clothes of Victoria Brisbane as well as she and Dr. Thorndyke would wear as disguises. The special visual effects work of Albert Whitlock is terrific for some of the minimal things that pay homage to Hitchcock‘s films including the moments where Dr. Thorndyke deals with his anxieties. The sound effects of William Hartman and Richard Sperber are superb for the way it play into the suspense and how it also add to its humor. The film’s music by John Morris is amazing for its orchestral-based score that owe a lot to the music of Bernard Herrmann as well as moments that are quite playful including a title song written and performed by Mel Brooks.
The film’s phenomenal cast feature some notable small roles from Lee Delano as a half-shaven orderly, Ron Clark as a patient who fears werewolves, Ron De Luca as a mysterious figure known as Braces, Barry Levinson as an uptight bellhop, famed Hitchcock special effects supervisor Albert Whitlock as a patient, Charlie Callas as a man who thinks he’s a dog, and Dick Van Patten as a fellow doctor in the institute in Dr. Wentworth who would become a victim in a scheme that adds to the mystery. Howard Morris is superb as Dr. Thorndyke’s mentor Dr. Lilloman who tries to cure his protégé over his fears as well as reveal what might be going on in the institute. Ron Carey is fantastic as Brophy as a photograph-obsessed chauffer who befriends Dr. Thorndyke as he always struggle to do things right while having his own theories into what is going on.
Cloris Leachman is excellent as Nurse Diesel as this intimidating nurse with a mustache and a penchant for torture who is the real mastermind behind a lot of what is going on as well as being very funny in what she does to Dr. Montague. Harvey Korman is brilliant as Dr. Montague as a scheming psychiatrist who is trying to create more chaos for his patients and wants to run the institute as Korman is just funny throughout for what he tries to do. Madeline Kahn is amazing as Victoria Brisbane as the daughter of a patient who believes something isn’t right as she tries to see if her father is alright as her character is a homage of sorts to some of the heroines in Hitchcock’s film while having her own moments that are just hilarious. Finally, there’s Mel Brooks in an incredible performance as Dr. Richard H. Thorndyke as a psychiatrist with a fear of heights as he copes with some of the strange things happening as well as a being a victim of these strange events where it’s Brooks being absolutely hilarious.
High Anxiety is a sensational film from Mel Brooks. Featuring a great cast and some hilarious gags, it’s a film that isn’t just one of Brooks’ finest film but also a film that fans of Alfred Hitchcock would love for not just the references. It’s also for the fact that it’s a homage to the filmmaker whom the film is dedicated to. In the end, High Anxiety is a remarkable film from Mel Brooks.
Mel Brooks Films: The Producers - (Twelve Chairs) - Blazing Saddles - Young Frankenstein - (Silent Movie) - (History of the World, Part 1) - Spaceballs - (Life Stinks) - Robin Hood: Men in Tights - (Dracula: Dead and Loving It)
© thevoid99 2017
Based on the novel Frankenstein by Mary Shelley, Young Frankenstein is about the grandson of Dr. Frankenstein who decides to create the same experiment his grandfather did with some hilarious results. Directed by Mel Brooks and screenplay by Brooks and Gene Wilder, the film is a spoof of sorts of the monster movies where it plays up into the myth and legends of the Frankenstein monster while being filled with a lot of absurd innuendos. Starring Gene Wilder, Peter Boyle, Teri Garr, Madeline Kahn, Kenneth Mars, Cloris Leachman, Marty Feldman, and Gene Hackman. Young Frankenstein is a stylish and hilarious film from Mel Brooks.
Set in the 20th Century, the film is the simple story of a scientist, who is the grandson of Victor von Frankenstein, as he inherited a house in Transylvania where he ends up recreating the same experiment that his grandfather did many years ago. It’s a film that plays up the story of Frankenstein but in a somewhat modern setting where Dr. Frankenstein’s grandson Frederick (Gene Wilder) is trying to deny his family heritage by having his surname be pronounced as “Fron-ken-steen”. The film’s screenplay doesn’t just spoof Mary Shelley’s novel in some ways but also add some absurdity into the film as it relates to the people Frederick Frankenstein meets such as a descendant of Frankenstein’s assistant Igor whose grandson (Marty Feldman) shares the same name but is pronounced “Eye-gore”. It also has these elements that play into the modern world though the people of Transylvania aren’t happy about Frankenstein’s grandson in their hometown as well as the idea that he might do the same experiment that terrorized the town so many years ago.
The screenplay is also filled with a lot of gags as it relates to Dr. Frankenstein’s old housekeeper Frau Buchler (Cloris Leachman) where horses get antsy whenever her surname is spoken. A lot of the gags in the film doesn’t just play into some of the offbeat humor of the film but also in moments that involve the creature (Peter Boyle) who was supposed to have the brain of a deceased yet revered historian but circumstances led to all sorts of trouble. Even as the creature would do things that are also offbeat in its own way that includes a spoof of sorts about the creature meeting a young girl just like the original 1931 film by James Whale.
Mel Brooks’ direction definitely owes a lot to the early horror films and monster movies of the 1930s while it also bears elements of modern-day filmmaking. Shot in soundstages, the film definitely plays up to that air of classic Hollywood where it isn’t afraid to be artificial but also have fun with it. Many of Brooks’ compositions are quite simple in terms of its framing and the way he creates these lively and often improvised moments in the comedy. Notably in a short but hilarious sequence where the monster meets a blind hermit (Gene Hackman) as it is a whole lot of fun to watch while Brooks uses some wide and medium shots to capture the whole sequence. There are also these moments that is a homage to the 1931 James Whale film such as the machine that is used to create the monster as it’s the actual machine that was used from the original by its original designer Kenneth Strickfaden. Brooks’ approach to some of the intimacy in the film as well as the non-comical moments have him use some close-ups while providing subtle bits of humor without deterring too much from the story. Overall, Brooks creates a very witty and entertaining film about Dr. Frankenstein’s grandson carrying the legacy he tried to run away from.
Cinematographer Gerald Hirschfeld does brilliant work with the film‘s black-and-white photography as it has this very atmospheric look in the photography with Hirschfeld providing some unique lighting and moods for many of the interior/exterior scenes in the film. Editor John C. Howard does excellent work with the film‘s very stylized editing with its usage of transition wipes, iris outs, dissolves, and other stylish cutting techniques to not just play with the humor but also pay tribute to the editing style of the past. Production designer Dale Hennesy and set decorator Robert de Vestel do amazing work with the look of Dr. Frankenstein‘s home as well as the town and the lab that features the original props from the original 1931 film.
Costume designer Dorothy Jeakins does nice work with the costumes as it is a mixture of the period clothes of the past with some of the modern suits that Frankenstein wears. Makeup creator William Tuttle does fantastic work with the look of the creature as well as the look of the blind hermit. Sound editor Don Hall does terrific work with the sound from the way the thunderstorms and lightning sound to the way some of the machines sound like. The film’s music by John Morris is wonderful as its orchestral score play into some of the humor and light-dramatic moments as well as an inspired and hilarious usage of the standard Puttin’ on the Ritz.
The casting by Jane Feinberg and Mike Fenton do incredible work with the casting as it include some notable small roles from Richard Haydn as an executor of Dr. Frankenstein’s estate, Rolfe Sedan in a dual role as a train conductor in America and in Europe, Danny Goldman as a medical student who is interested in Frankenstein’s heritage, and Gene Hackman in a superb cameo as the blind hermit Harold as it’s a very funny brief role from Hackman who does a lot with the few minutes he’s in. Kenneth Mars is fantastic as Inspector Kemp as this one-eyed police inspector with a prosthetic right arm who is suspicious about Frankenstein where he keeps an eye on him while also being very funny. Cloris Leachman is brilliant as Frau Buchler as Dr. Frankenstein’s housekeeper who has a secret about Frankenstein’s grandfather as she would play a role in the monster’s freedom.
Madeline Kahn is excellent as Frankenstein’s fiancée Elizabeth as this socialite who wants to remain pure as Kahn is just delightful to watch while her scene in meeting the monster is just a riot. Marty Feldman is phenomenal as Igor as Frankenstein’s humpback assistant who is also the grandson of the original Igor as he says some very funny things as well as create a moment that would inspire one of the greatest rock songs ever made. Teri Garr is amazing as Inga as Frankenstein’s assistant who would also have her funny moments but also be someone who can calm Frankenstein where she would eventually become his love interest. Peter Boyle is great as the monster as this large man with an abnormal brain where Boyle doesn’t get to say much but his physical presence and awkward comedic timing makes him a joy to watch as he nearly steals the film from everyone. Finally, there’s Gene Wilder in a sensational performance as Frederick Frankenstein as this man of science who is reluctant to follow in his grandfather’s footsteps where his desire for recognition in the field has him crazed where Wilder is full of energy and bravado in what is one of his defining performances.
Young Frankenstein is a spectacular film from Mel Brooks that features great performances from Gene Wilder, Peter Boyle, Teri Garr, Marty Feldman, and Madeline Kahn. Along with a superb supporting cast, visual homage to the 1931 James Whale film, gorgeous visuals, and some hilarious moments. It’s a film that isn’t just one of the most inventive comedies ever made but it’s also a film that manages to be entertaining through and through. In the end, Young Frankenstein is a tremendous film from Mel Brooks.
Mel Brooks Films: The Producers - (Twelve Chairs) - Blazing Saddles - (Silent Movie) - High Anxiety - (History of the World, Part 1) - Spaceballs - (Life Stinks) - Robin Hood: Men in Tights - (Dracula: Dead and Loving It)
© thevoid99 2016
(In Memory of Gene Wilder 1933-2016)
Directed, starring, and songs by Mel Brooks and screenplay by Brooks, Andrew Bergman, Richard Pryor, Norman Steinberg, and Al Uger from a story by Bergman, Blazing Saddles is the story of a State Attorney General who conspires to have a railroad be built on a town while getting an African-American railroad worker to be its sheriff only for the sheriff to gain the trust of the locals to fight back. It’s a film that is a spoof of sorts on the western genre that includes some well-intended anachronisms as well as a commentary on race relations and ideas of the American West. Also starring Cleavon Little, Gene Wilder, Harvey Korman, Madeline Kahn, Slim Pickens, David Huddleston, Alex Karras, and Dom DeLuise. Blazing Saddles is an off-the-wall and rip-roaring film from Mel Brooks.
Set in the American West, the film is about a railroad worker, who was about to be hanged for hitting his boss with a shovel, who becomes the sheriff for a town that is under the threat of bandits unaware that that the bandits are working for the State Attorney General wanting to build a railroad through the town. It’s a film that sort of makes fun of the western genre where it plays into every cliché that happens as well as provide some commentary about the modern world where this town is aghast over the fact that their new sheriff is African-American. The film’s script doesn’t just play into some satirical commentary on race relations but also what men of power would do to stop this sheriff only to be outwitted.
The script also has gags that doesn’t just play into clichés but also subvert many stereotypes of the genre such as this dim-witted henchman named Mongo (Alex Karras) who is revealed to be quite philosophical. Another gag in the film is the fact that it’s intentionally anachronistic where it adds to the film’s subversive approach to the genre as well as the fact that the antagonist Hedley Lamarr (Harvey Korman) is mistakenly called Hedy Lamarr. It adds to some of the absurdity that is in the script as well as the fact that it refuses to take itself too seriously.
Mel Brooks’ direction is quite simple in terms of the compositions he creates yet he definitely brings in a lot of the visual tropes that is expected in the western genre with its usage of wide and medium shots to capture the beauty of its locations. Shot in the back-lot studios of Warner Brothers, the film definitely play into some of the artificial aspects that is common with the genre while also creating these moments that are offbeat. Even with the anachronistic elements such as an audition scene for Lamarr’s posse where there’s German soldiers from World War I, bikers, and Ku Klux Klan members as well as a scene in the climax where the film literally breaks the fourth wall. It’s among these moments of the absurd that makes it so interesting while Brooks isn’t afraid to be politically-incorrect as it add to a lot of the humor that occurs in the film. Even as Brooks is willing to go into lowbrow territory just to maintain that sense of joy and laughter without deterring too much from the story. Overall, Brooks creates a witty yet sensational film about an African-American sheriff fighting for liberty, justice, and German sausages.
Cinematographer Joseph F. Biroc does excellent work with the cinematography as it is very straightforward in its approach to the daytime exteriors while using some light for some of the interiors and scenes set at night. Editors Danford Greene and John C. Howard do nice work with the editing as it is very straightforward with some stylish cutting for some of the transitions. Production designer Peter Wooley and set decorator Morris Hoffman do amazing work with the look of the town as well as the office of Lamarr and Governor Le Petomane. The sound work of Gene S. Cantamessa does superb work with the sound as it‘s straightforward in playing up the chaos of the West. The film’s music by John Morris is wonderful for its orchestral-based music that play into the world of the American West as it includes some songs written by Mel Brooks that are very funny.
The casting by Nessa Hyams is great as it features notable small roles and appearances from Robyn Hilton as the governor’s busty secretary, Ralph Manza as an actor playing Adolf Hitler, Count Basie as himself, Robert Ridgely as the hangman Boris, Rodney Allen Rippy as a young Bart, Anne Bancroft as an extra at the congregation, Richard Collier as the town doctor, Liam Dunn as the local reverend, Carol Arthur as the local schoolmarm, Charles McGregor as Bart’s friend Charlie, Burton Gilliam as Taggart’s henchman Lyle, and David Huddleston as one of the locals in Olson Johnson who isn’t receptive about Bart because he’s African-American. Dom DeLuise is fantastic as filmmaker Buddy Bizarre who is trying to make a Busby Berkeley-style musical while Mel Brooks is superb in a dual role as the dim-witted Governor William J. Le Pentomane and a Yiddish-speaking Indian chief the young Bart meets. Alex Karras is excellent as Mongo as this big and strong man who looks and seem like the dumbest person around yet is surprisingly philosophical where he eventually helps Bart and Jim.
Slim Pickens is brilliant as Taggart as Lamarr’s henchman who is the personification of every cliché of the western genre where he says all sorts of shit and does idiotic things. Madeline Kahn is amazing as Lili Von Shtupp aka the Teutonic Titwillow as German seductress/performer who is asked by Lamarr to seduce Bart only to fall for Bart. Harvey Korman is incredible as Hedley Lamarr who always has to correct people for saying his name wrong as he is this state attorney general trying to do whatever he can to destroy a small town so he can get this railroad built. Gene Wilder is phenomenal as Jim aka the Waco Kid as the fastest gunslinger in the world that is trying to escape his past while later helping out Bart in every way where Wilder provides a lot of humor without doing much. Finally, there’s Cleavon Little in a sensational performance as Bart as a railroad worker who becomes sheriff for a town unaware that he is meant to cause trouble only to win over the people and do whatever it takes to outwit and outplay the bad guys.
Blazing Saddles is a magnificent film from Mel Brooks. Featuring a great cast, hilarious gags, witty commentary on social and racial issues, and some off-the-wall humor. It’s a film that isn’t just a great spoof on the western but also manages to do a lot of things and more to create something that is full-on entertainment. In the end, Blazing Saddles is an outstanding film from Mel Brooks.
Mel Brooks Films: The Producers - (Twelve Chairs) - Young Frankenstein - (Silent Movie) - High Anxiety - (History of the World, Part 1) - Spaceballs - (Life Stinks) - Robin Hood: Men in Tights - (Dracula: Dead and Loving It)
© thevoid99 2016
