cinemabon
01-14-2006, 10:32 PM
The film world was reminded this past week that brilliant men once ruled the cinema of comedy. Along with a reissue of Blake Edward's "Return of Pink Panther," the masterpieces of two other comic geniuses, John Hughes and Mel Brooks' films debuted on DVD in Special Editions.
Not since the Billy Wilder had one director made so much of an impact on cinema as Mel Brook's did when he brought his story of "The Producers" to the screen. Remember, the studio had every intention of burying this movie and never having it see the light of day. They behaved, as the opening night audience did in the film, with astonishment that Brooks would make a film comedy about such a vile creature as Hitler.
By a strange quirk of fate, comic actor Peter Sellers sat in on a mistaken screening of what was supposed to be film by Fellini. He was so impressed when he watched The Producers that night; he took out full page ads in the trade papers the next day to say it was the funniest film of all time. The studio scrambled to rush prints into theaters, where the film played daily for a solid year in New York, outselling many Broadway plays. Brooks went on to win the Oscar that year for Best Screenplay.
While the subject of Hitler is far from amusing, Brooks felt deep in his heart the only way to strike back was to poke fun at his enemy. With the orginal title of Springtime for Hitler, Brooks took his idea to friend Sidney Glazer, who encouraged Brooks to write it as a screenplay. Three years later, they found backing from Avco Embassy, and started production with less than a million dollar budget. Brooks talked his way into the directing job, and then personally contacted Zero Mostel, whom he had in mind from the start, to duplicate the role of a Broadway producer Brooks fashioned the part after. Mostel brilliantly made Max Bialystock one of the most memorable comedic roles in film history. The rest of the cast hit their marks so well, this came off as an ensemble piece from the start. Brooks turned out to be as good a director as he was a writer. His first effort, which nearly destroyed his career, ended up launching Brooks into directing stardom. Newcomer Gene Wilder earn kudos for his first recognizable film role by garnering Best Supporting Actor nod (he'd actually just finished a bit part in Bonnie and Clyde). If you haven't seen the original in a while, I suggest you go back and discover why Sellers would heap such praise on Brook's first effort.
Studious writer, scholar, and part-time comic relief Ben Stein once visited the White House for a formal dinner. When introduced to President Bush, Stein was apparently caught off guard when the President simply said to him, "Bueller... Bueller..." Stein later told his wife to put it on his tomb stone, since he'd grown tired of being known by this one small part he'd played in the now comedy classic.
John Hughes made many films that became known as the "coming of age" films (Sixteen Candles, Breakfast Club, Pretty in Pink, etc.). However, when asked to come up with a screenplay in a hurry, he supposedly penned "Ferris Bueller's Day Off" in six days (the joke being, "Just think what he'd have written given seven?"). Actors and crew alike stated of the filmed event they never had a better time in their lives. Hughes made the set a relaxed one with free expression, allowing actors to extemporize and expand on everything. The result turned out to be one of the greatest comic films of all time.
Some critics complain the material is dated to the eighties. I tend to disagree on this point. Ferris is the man all of us wish we could be. He can do no wrong and has a perfect life, exemplified by one perfect day. We go along on the ride as his troubled friend, Cameron, supplies the perfect car (the Ferrari's were all fake; the insurance for a real one would have been astronomical). Speaking of ensembles, each member of this cast has stand out moments, too numerous to mention.
"Save Ferris" becomes the building mantra of the tight piece, culminating in Cameron finding his courage and Bueller making peace with his jealous sister in a hilarious "chase to home" climax. Even Alan Ruck shines as the fumbling High School Principle, who in the closing credits shows us how a brilliant director can make even a mediocre actor look good (Ruck has fallen into a rather shadow of his former self). Broderick's Ferris hits dead on as actor melding with character. Just as Mostel's character brings us into The Producers, so Broderick's 'fourth wall' delivery brings the audience into Bueller's world, letting us in on the joke. He continues his dialogue lesson throughout and then dismisses those slackers who remain till the very end.
Both DVD's have decent "Making of..." with principle cast and crew members reminiscing. A few other extras thrown in for good measure. The Producers is a 2-disc set. If you've ever needed a great laugh and have grown tired of the physical kind of stunt comedy flooding the current crowd (Cheaper by the Dozen, Family of Twenty and crap like that), then step back and take in these two. May I suggest a glass of chardonnay and a dube?
Not since the Billy Wilder had one director made so much of an impact on cinema as Mel Brook's did when he brought his story of "The Producers" to the screen. Remember, the studio had every intention of burying this movie and never having it see the light of day. They behaved, as the opening night audience did in the film, with astonishment that Brooks would make a film comedy about such a vile creature as Hitler.
By a strange quirk of fate, comic actor Peter Sellers sat in on a mistaken screening of what was supposed to be film by Fellini. He was so impressed when he watched The Producers that night; he took out full page ads in the trade papers the next day to say it was the funniest film of all time. The studio scrambled to rush prints into theaters, where the film played daily for a solid year in New York, outselling many Broadway plays. Brooks went on to win the Oscar that year for Best Screenplay.
While the subject of Hitler is far from amusing, Brooks felt deep in his heart the only way to strike back was to poke fun at his enemy. With the orginal title of Springtime for Hitler, Brooks took his idea to friend Sidney Glazer, who encouraged Brooks to write it as a screenplay. Three years later, they found backing from Avco Embassy, and started production with less than a million dollar budget. Brooks talked his way into the directing job, and then personally contacted Zero Mostel, whom he had in mind from the start, to duplicate the role of a Broadway producer Brooks fashioned the part after. Mostel brilliantly made Max Bialystock one of the most memorable comedic roles in film history. The rest of the cast hit their marks so well, this came off as an ensemble piece from the start. Brooks turned out to be as good a director as he was a writer. His first effort, which nearly destroyed his career, ended up launching Brooks into directing stardom. Newcomer Gene Wilder earn kudos for his first recognizable film role by garnering Best Supporting Actor nod (he'd actually just finished a bit part in Bonnie and Clyde). If you haven't seen the original in a while, I suggest you go back and discover why Sellers would heap such praise on Brook's first effort.
Studious writer, scholar, and part-time comic relief Ben Stein once visited the White House for a formal dinner. When introduced to President Bush, Stein was apparently caught off guard when the President simply said to him, "Bueller... Bueller..." Stein later told his wife to put it on his tomb stone, since he'd grown tired of being known by this one small part he'd played in the now comedy classic.
John Hughes made many films that became known as the "coming of age" films (Sixteen Candles, Breakfast Club, Pretty in Pink, etc.). However, when asked to come up with a screenplay in a hurry, he supposedly penned "Ferris Bueller's Day Off" in six days (the joke being, "Just think what he'd have written given seven?"). Actors and crew alike stated of the filmed event they never had a better time in their lives. Hughes made the set a relaxed one with free expression, allowing actors to extemporize and expand on everything. The result turned out to be one of the greatest comic films of all time.
Some critics complain the material is dated to the eighties. I tend to disagree on this point. Ferris is the man all of us wish we could be. He can do no wrong and has a perfect life, exemplified by one perfect day. We go along on the ride as his troubled friend, Cameron, supplies the perfect car (the Ferrari's were all fake; the insurance for a real one would have been astronomical). Speaking of ensembles, each member of this cast has stand out moments, too numerous to mention.
"Save Ferris" becomes the building mantra of the tight piece, culminating in Cameron finding his courage and Bueller making peace with his jealous sister in a hilarious "chase to home" climax. Even Alan Ruck shines as the fumbling High School Principle, who in the closing credits shows us how a brilliant director can make even a mediocre actor look good (Ruck has fallen into a rather shadow of his former self). Broderick's Ferris hits dead on as actor melding with character. Just as Mostel's character brings us into The Producers, so Broderick's 'fourth wall' delivery brings the audience into Bueller's world, letting us in on the joke. He continues his dialogue lesson throughout and then dismisses those slackers who remain till the very end.
Both DVD's have decent "Making of..." with principle cast and crew members reminiscing. A few other extras thrown in for good measure. The Producers is a 2-disc set. If you've ever needed a great laugh and have grown tired of the physical kind of stunt comedy flooding the current crowd (Cheaper by the Dozen, Family of Twenty and crap like that), then step back and take in these two. May I suggest a glass of chardonnay and a dube?