The Great Buster: A Celebration

Written, directed, and narrated by Peter Bogdanovich, The Great Buster: A Celebration is a documentary film that explores the life, career, and influence of silent film star/filmmaker Buster Keaton. Featuring interviews from various filmmakers, historians, actors, and comedians, the film follows the man’s life as well as his struggles to be relevant when silent films ended as well as the long overdue adulation he would ultimately receive before his passing in 1966 at the age of 70. The result is a rich and exhilarating film from Peter Bogdanovich.

In the 1920s, one of the biggest stars of the silent film era was Buster Keaton whose stone-faced look and elaborate approach to physical comedy and action as it would influence many in the years to come. The film explores not just Keaton’s life including his struggles to make movies during the post-silent film era but also in some of his failures he would endure and comeback during the late 1940s. Narrated by its writer/director Peter Bogdanovich who shows a clip of himself on The Dick Cavett Show in the early 1970s with filmmaker Frank Capra as they talk about Keaton’s influence in cinema as other filmmakers ranging from comedy filmmakers like Mel Brooks and Carl Reiner to the likes of Werner Herzog, Quentin Tarantino, and Jon Watts as they all talk about what Keaton brought to the world of cinema. Watts especially as he reveals that Keaton’s stone-faced expression was an inspiration to the look of Spider-Man under his mask in Spider-Man: Homecoming.

The film also goes into depth into Keaton’s personal life through historians and those who knew him including actors Norman Lloyd and Dick Van Dyke while comedian Richard Lewis talks about his friendship with Keaton’s widow Eleanor Norris as she would give him her husband’s famed hat. Actors/comedians such as Cybill Shepherd, Nick Kroll, Bill Hader, French Stewart, and Johnny Knoxville also talk about Keaton’s films and his approach to physical comedy as Knoxville reveals that part of the reasons he created Jackass and its films was to do stupid stunts but also to understand how Keaton was able to perfect the stunts and set pieces he created in his films. Much of the narrative that Bogdanovich creates is largely straightforward but it also play into the decline in his career as it relates to his time working with MGM where Keaton lost a lot of his creative control as several colleagues including Charles Chaplin urged Keaton to not sign with MGM but Keaton ended up taking the advice of those who were managing his business as it ended up being a bad business deal.

After two failed marriages and a career that is nearly dead, it would be his marriage to MGM dancer Eleanor Norris that would help as he would be hired by MGM to write gags and such as well as direct a gag for other filmmakers. The work for MGM and appearances in commercials and television would help revive Keaton’s career and financial fortunes as it would give him a memorable cameo in Billy Wilder’s Sunset Boulevard as well as a memorable appearance in Chaplin’s 1952 film Limelight where the two shared the screen together. Lloyd revealed that Chaplin brought Keaton just to work with him and help him out as they created a great scene while the finale was partially directed by Keaton who helped Chaplin out with the scene. Many also discussed that as great as a filmmaker and physical comedian that Keaton is, some say he is underrated as an actor as historians and filmmakers do feel that Keaton had a lot more to offer. Even in his final years as it play into the films he was doing such as Beach Blanket Bingo as he was dealing with ill health but was enjoying his work.

Much of Bogdanovich’s direction is straightforward in the interviews which were shot with cinematographer Dustin Pearlman as it allow those who are interviewed the chance to be in their own world but also express their love for Keaton. Yet, it is through the footage of Keaton’s films and other archival footage that is the meat of the film with the aid of editor Bill Berg-Hillinger who would cultivate all of the footage including some of the rare TV clips and commercials. One aspect of the film that is crucial to the film are clips from the documentary Buster Keaton Rides Again which was a making-of documentary about a short film Keaton was making as it would be one of his last films. Sound editor David Barnaby would gather some audio archives as well as do some remastering in some of the film clips while music supervisor Chris Robertson cultivates an array of music scores from all of the film that Keaton was in as it help play into the humor and somber aspects of his life.

The Great Buster: A Celebration is an incredible film from Peter Bogdanovich. It’s a documentary that does a lot to explore the genius of Buster Keaton as well as the legacy he’s created in the world of film and the admirers he had gained for many years. Even as it showcases his films and why people love them as well as a look into his struggles after his years of stardom and control had faded away only to regain his dignity and overdue adulation he would receive for his gift. In the end, The Great Buster: A Celebration is a marvelous film from Peter Bogdanovich.

Buster Keaton Films: (The Rough House) – (One Week (1920 Short)) – (Convict 13) – (The Scarecrow (1920 short)) – (Neighbors (1920 short)) – (The Haunted House (1921 short)) – (Hard Luck (1921 short)) – (The High Sign) – (The Goat (1921 short)) – (The Playhouse) – (The Boat) – (The Paleface) – (Cops) – (My Wife’s Relations) – (The Blacksmith) – (The Frozen North) – (The Electric House) – (Day Dreams (1922 short)) – (The Balloonatic) – (The Love Nest) – (Three Ages) – (Our Hospitality) – Sherlock Jr. - The Navigator (1924 film) - Seven Chances - (Go West (1925 film)) – (Battling Butler) – The General (1926 film) - (College (1927 film)) – Steamboat Bill Jr. - The Cameraman - (Spite Marriage) – (The Gold Ghost) – (Allez Oop) – (Tars and Stripes) – (Gland Slam Opera) – (One Run Elmer) – (Blue Blazes) – (Mixed Magic) – (Love Nest on Wheels)

Peter Bogdanovich Films: Targets - (Voyage to the Planet of Prehistoric Women) – (Directed by John Ford) – The Last Picture Show - (What’s Up Doc?) – Paper Moon - (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)

© thevoid99 2020

The Producers (1967 film)

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

Robin Hood: Men in Tights

Directed and co-starring Mel Brooks and screenplay by Brooks, Evan Chandler, and J. David Shapiro from a story by Chandler and Shapiro, Robin Hood: Men in Tights is the story of a royal who returns to Britain as he tries to reclaim his land from an evil prince and his sheriff with the aid of villagers. The film is a spoof on many variations of the Robin Hood story as it play into the legend and put a witty spin on it while making fun of other films as the titular character is played by Cary Elwes. Also starring Richard Lewis, Roger Rees, Amy Yasbeck, Isaac Hayes, Tracey Ullman, and introducing Dave Chappelle as Ahchoo. Robin Hood: Men in Tights is a delightful yet flawed film from Mel Brooks.

The film is essentially a spoof on the Robin Hood story as it plays with the origin story but also infuse it with anachronistic humor and other quirks. Yet, it does faithfully follow the original story about a man who loses his family home and land upon his return from the Crusades as an evil prince and sheriff have taken over England where they raise taxes. This would force Robin Hood to gather some local villagers to steal from the rich and give back to the poor as well as lead a revolt against Prince John (Richard Lewis) and the Sheriff of Rottingham (Roger Rees) while winning the heart of the fair Maid Marian (Amy Yasbeck). The film’s script would put in some quirks such as the fact that Robin Hood is a bit smug as he would go into long speeches that gets old very fast while the Sheriff of Rottingham often speaks in spoonerism. Prince John often sports a fake mole unaware that he has one while the character of Friar Tuck is remained as a rabbi (Mel Brooks).

Mel Brooks’ direction is quite straightforward as it play into this world of medieval times where it was shot in various locations and studio lots in Southern California while it also has recurring gags that often breaks down the fourth wall accidentally. While much of the compositions are simple in the way he shoots close-ups and medium shots as it relates to the way he present characters and situations. There are a few wide shots in the film to establish some of the locations as Brooks is more about presenting the humor and do whatever he can to bring laughs. Some of it doesn’t work such as scene rapping merry men as well as other bits relating to 90s culture that ends up being very dated. Still, Brooks does manage to find way to create moments that are still funny as well as put in bits and references from his own films. Even as it help tell the story while doing whatever he can to make it fun. Overall, Brooks makes a enjoyable though flawed film about a man who revolts against an evil prince while trying to woo a maiden wearing a metallic chastity belt.

Cinematographer Michael D. O’Shea does nice work with the film‘s cinematography from the way many of the daytime exteriors are presented as well as some of the nighttime interior scenes. Editor Stephen E. Rivkin does excellent work with the editing with its stylish usage of dissolves for a musical sequence involving Maid Marian as well as some jump-cuts to play into some of the humor. Production designer Roy Forge Smith, with set decorator Ronald R. Reiss and art director Stephen Myles Berger, does fantastic work with the design of the sets from the prison in Jerusalem to what was once the Loxley castle until it was moved because of owed back taxes. Costume designer Dodie Shepard does wonderful work with the costumes from the design of Maid Marian’s chastity underwear belt to the clothes the men wear including the tights.

Visual effects supervisor Mat Beck does OK work with the few visual effects such as a major sequence involving an archery contest. Sound editors Gary S. Gerlich and Gregory M. Gerlich, with Harry E. Snodgrass, do terrific work with the sound in the way some of the sound effects are heard as well as how the arrows sound when they‘re shot into a target. The film’s music by Hummie Mann is superb for its orchestral-based score that is triumphant and playful while the film also feature some original songs written or co-written by Mel Brooks that are funny though the rap song isn‘t very good.

The casting by Lindsay Chag and Bill Shepard is great as it feature some notable small appearances and cameos from Robert Ridgely sort of reprising his hangman role from Blazing Saddles, Dick Van Patton as the abbot, Joe Dimmick as a Clint Eastwood look-alike assassin in Dirty Ezio, Steve Tancora as a champion archer in Filthy Luca, Brian George as a Jerusalem dungeon maitre d’, Avery Schreiber as a tax assessor, Megan Cavanagh as Maid Marian’s lady-in-waiting Broomhilde, and Patrick Stewart in a brief appearance as King Richard. Other noteworthy small roles include Isaac Hayes as Ahchoo’s father Asneeze that Robin meets at the Jerusalem dungeon, Dom DeLuise in a hilarious spoof of Marlon Brando’s Don Corleone character in Don Giovanni, and Mel Brooks as Rabbi Tuckman who joins Robin Hood in dealing with Prince John. Tracey Ullman is fantastic as Latrine as a sorceress/cook for Prince John who is willing to help him but what she wants is the Sheriff of Rottingham. Eric Allan Kramer and Matthew Porretta are terrific in their respective roles as Little John and Will Scarlett O’Hara with the former being a big but dimwitted ally of Robin Hood while the latter is good with knives.

Mark Blankfield is superb as Robin’s blind servant Blinkin who is a comic relief that often is in some sort of mishap due to his blindness. Dave Chappelle is excellent as Ahchoo as Robin’s right-hand man who would say some funny things but also come up with some inspiring plans. Amy Yasbeck is brilliant as Maid Marian as a virginal maiden who is trying to find her true love as well as the one who can get rid of her chastity belt underwear. Richard Lewis is amazing as Prince John as an evil royal who has a hard time trying to rule England as well as do bad things where Lewis is very funny. Roger Rees is hilarious as the Sheriff of Rottingham as a spoonerism-spouting sheriff who says offbeat things and put himself into very hilarious situations. Finally, there’s Cary Elwes in an incredible performance as the titular character as a royal who is eager to reclaim his land and help the poor while being the Robin Hood that can speak with an English accent.

Robin Hood: Men in Tights is a witty though flawed film from Mel Brooks. Despite some dated jokes, the film does offer plenty of laughs thanks to a great cast and some funny gags. In the end, Robin Hood: Men in Tights is a stellar film from Mel Brooks.

Mel Brooks Films: The Producers - (Twelve Chairs) - Blazing Saddles - Young Frankenstein - (Silent Movie) - High Anxiety - (History of the World, Part 1) - Spaceballs - (Life Stinks) - (Dracula: Dead and Loving It)

© thevoid99 2017

High Anxiety

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

Young Frankenstein

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

Blazing Saddles

(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

Spaceballs

Directed by Mel Brooks and written by Brooks, Ronny Graham, and Thomas Meehan, Spaceballs is a spoof film about a mercenary and his half-man/half-dog who save a princess and her robot from the clutches of an evil henchman. The film makes fun of the Star Wars franchise as well as sci-fi films of the past including the world of advertisement and home video releases. Starring Mel Brooks, John Candy, Rick Moranis, Bill Pullman, Daphne Zuniga, the voice of Joan Rivers, George Wyner, and Dick Van Patten. Spaceballs is a hilarious and entertaining comedy from Mel Brooks.

After wasting all of the air in his home planet, President Skroob (Mel Brooks) devise a plan to take out all of the fresh air from Planet Druidia with the help of his henchman Dark Helmet (Rick Moranis). In Druidia, King Roland (Dick Van Patten) is celebrating the wedding of his daughter Princess Vespa (Daphne Zuniga) to a man named Prince Valium (Jim J. Bullock). Yet, Vespa runs away with her robot droid Dot Matrix (the voice of Joan Rivers) as Skroob and Helmet decide to kidnap her so that Roland can give them fresh air. With Vespa in danger, King Roland asks mercenary Lone Starr (Bill Pullman) to rescue Vespa. Starr asks for a million space-bucks in return so he and his half-man/half-dog friend Barf (John Candy) can pay their debt towards space criminal Pizza the Hutt (the voice of Dom DeLuise).

After jamming Helmet’s radar system, Lone Starr is able to retrieve Vespa, Dot, and their luggage as they try to evade Helmet’s ship through hyperspace. Helmet and his assistant Col. Sandurz (George Wyner) try to do the same but only pass them as Lone Starr’s Winnebago spaceship crash lands into a planet where they would meet wise master of the Schwartz in Yogurt (Mel Brooks). After teaching Lone Starr the Schwartz, Yogurt also learns the contents of Lone Starr’s medallion which he won’t reveal until later. After Vespa and Dot are captured by Helmet, Lone Starr and Barf go to Planet Spaceball to save them as Skroob is able to get the code to open Druidia’s planet shield. Lone Starr and Barf arrive to Planet Spaceball to save Vespa and Dot as they decide to stop Skroob and Helmet with help from the Schwartz.

The film is essentially a Star Wars parody where it doesn’t try to take itself too seriously as Darth Vader is re-created as a nerdy guy wearing a big black helmet. Luke Skywalker and Han Solo become this mercenary who travels in a space Winnebago with his half-man/half-dog friend while is willing to do anything for a shit-load of money. While there’s a lot of humor that allows Mel Brooks and his co-writers to make fun of Star Wars as well as other sci-fi franchises. There’s also an element of wit as Brooks allows himself to make fun of the world of the home video market in a scene where Helmet and Col. Sandurz track down Lone Starr by watching a video cassette of the actual movie they’re in while it’s still in the making.

It’s part of Brooks’ genius to satirize the film industry at a time when the home video market was becoming big. Another element of satire Brooks gets to point fingers at is the world of merchandising. The scene where Lone Starr, Vespa, and the gang learn about what Yogurt does. Yogurt reveals that he’s selling loads of products where the real money for the movie is made. Spaceballs the t-shirt, Spaceballs the coloring book. Spaceballs the flamethrower! (Kids love that!) It’s Brooks allowing himself to point fingers at the silliness of mass-marketing in films while doing it in a very comical manner.

Brooks’ direction is truly whimsical from the way he opens the film with this very long and exaggerated take on the big Spaceballs spaceship that Dark Helmet rides in. While the direction is quite straightforward for a sci-fi spoof, Brooks is able to create amazing timing for the comedy while not being afraid to go extremely silly. The fact that he often breaks down the fourth wall at times just adds to the hilarity. With these amazing compositions of the space scenes that is filled with lots of great visual effects and miniatures. Brooks creates a truly fun and imaginative sci-fi comedy spoof that does more than just entertain.

Cinematographer Nick McLean does an excellent with the film‘s photography from the very sunny yet stylish desert scenes to the wondrous interior lighting of the spaceships and Yogurt‘s cave. Editor Conrad Buff IV does a nice job with the editing by creating rhythmic cuts for some of the film‘s action sequences including some stylish cuts for the comedic moments. Production designer Terence Marsh, along with set decorator John Franco Jr. and art director Harold Michelson do great work with the set pieces created such as the Spaceballs ship interiors as well as the look of the Winnebago and Yogurt‘s cave.

The costumes by Donfeld are quite spectacular from the look of Lord Helmet‘s uniform including his big helmet that is also given a desert look to the wedding dress of Princess Vespa. Visual effects supervisor Peter Donen does an incredible job with the film‘s visual effects from the Schwartz-sabers and laser fire to the miniature spaceships made for some of exterior space shots. Sound designers Gary Rydstrom and Randy Thom do a fantastic job with the sound work from the sounds of the Schwartz-sabers and laser fire to .

The film’s score by John Morris is wonderful for the soaring orchestral pieces that is filled with bombastic string and percussion arrangements. The soundtrack includes a title song sung by the Spinners along with cuts by Maurice Jarre, Bon Jovi, the Pointer Sisters, Berlin, and Van Halen to play up the humor of the film.

The casting by David Rubin and Bill Shepard is terrific for the ensemble that is created as it includes appearances from Brenda Strong as a nurse, Stephen Tobolowsky as a guard captain, co-screenwriter Ronny Graham as a minister, Leslie Bevis as the interruptive Commanderette Zircon, Lorene Yarnell as the body of Dot Matrix, Jim J. Bullock as the narcoleptic Prince Valium, Michael Winslow as a sound effects-driven radar technician, Sandy Helberg as a deranged surgeon, a voice cameo from Michael York as creatures from another planet, and a hilarious cameo from John Hurt reprising his Kane role from Alien. Voice work from Dom DeLuise as Pizza the Hutt and Joan Rivers as Dot Matrix are very funny with the latter sporting some very funny one-liners. George Wyner is very good as the well-meaning Colonel Sandurz who tries to help Dark Helmet but either does the wrong things or ends up being smarter than his superior.

Dick Van Patten is also good as the regal King Roland who is desperate to save his daughter while revealing one of the stupidest code numbers ever. Daphne Zuniga is wonderful as the snobby Princess Vespa who tries to maintain her prestige while proving to be a total badass with a laser machine gun. Bill Pullman is great as the very scruffy yet no-holds-barred Lone Starr who becomes an unlikely hero. John Candy is hilarious as Barf, the half-man/half-dog who assists Lone Starr while saying some very funny lines. Rick Moranis is excellent as the villainous Dark Helmet as he often reveals his face to say smarmy one-liners while proving to be a very offbeat villain. Mel Brooks is fantastic in the dual role of the greedy yet neurotic President Skroob as well as the wise yet humorous wise creature Yogurt.

Spaceballs is truly one of the funniest spoofs ever created from the mind of Mel Brooks. The film is definitely one of Brooks’ most witty and very entertaining films as well as being something that is still funny through repeated viewings. Notably as it is filled with hilarious one-liners and moments that just keep people laughing while being a great homage to Star Wars and other sci-fi franchises. In the end, Spaceballs is a brilliant film from Mel Brooks that will make anyone wish for Spaceballs 2: The Search for More Money.

Mel Brooks Films: The Producers - (Twelve Chairs) - Blazing Saddles - Young Frankenstein - (Silent Movie) - High Anxiety - (History of the World, Part I) - (Life Stinks) - Robin Hood: Men in Tights - (Dracula: Dead and Loving It)

© thevoid99 2012