Still a Classic with Brooks, Wilder and Zero in Peak Form

Rating: 9/10 (11 March 2006)

I have seen the smash hit Broadway musical version with Nathan Lane and Matthew Broderick. While I love the update and added music and schtick, I have to say that I still prefer the original 1968 film upon which the show is based, the first movie Mel Brooks ever directed. By now, the story of two producers seeking to profit from a Broadway flop is familiar, but the concept is still priceless. The comedy scenes are original and nonstop, and unlike Brooks' later films, they actually seem to feed a solid, original storyline that does not take its inspiration from other films.
Zero Mostel, with his greasy comb-over and heavy-lidded, bugged-out eyes, is the ideal choice to play has-been theatrical producer Max Bialystock. Though larger than life as always, he seems downright subdued at times compared to the sideshow of characters surrounding him. Somehow the thought of Mostel as a paid lothario for wealthy old ladies stretches beyond the bounds of credibility and taste, all the more reason to guffaw at his antics in securing investment money for his big production. With his saucer-eyed innocence and apologetic demeanor, Gene Wilder is equally hilarious as nebbish accountant Leo Bloom. All the familiar mannerisms are there, but in his first major film appearance, he seems just right in expressing first his disdain for Max's unsavory business practices and then his excitement in breaking out of his shell when he realizes he's about to become a big Broadway producer.
My favorite scenes are among Brooks' most creative concoctions - the Hitler auditions; the too-close-for-comfort elevator ride with mincing assistant Carmen Giya; the euphoria Leo feels when he becomes corrupted as he skips around the Lincoln Center fountain; and of course, the elaborate opening number of the musical that Max and Leo hope will flop, "Springtime for Hitler". I still think the audience response immediately after the number is priceless, among Brooks' best shots, especially when the one guy who applauds is attacked. The entire supporting cast is great - the underrated Kenneth Mars as devoted Führer-loving Franz Liebkind, a pre-"Mr. Belvedere" Christopher Hewitt as the over-dramatic transvestite director Roger DeBris, Lee Meredith as sexy Swedish secretary Ulla (given several unrelated opportunities to go-go dance in a bikini - predating Goldie Hawn on TV's "Laugh-In") and even Dick Shawn in full hippie-dippy mode as the star of the show, L.S.D. Although there are certain touches that date the film including Shawn's character, there is a sense of quaintness and even sweetness about it that does make you sad it has such a brief running time (90 minutes). There is a film version of the Broadway musical in the works, but I still think this movie stands on its own and continues to get better over the years. A deserved comedy classic.