Do you remember when Jojo Rabbit was released and there was a collective debate over what subject matter was appropriate to be approached comedically? Thankfully we have had someone like Mel Brooks showing us that the sky’s the limit when it comes to this for over fifty years. With his 1967 feature directorial debut The Producers, the legendary comedy director created a comedic masterpiece that stirred the pot in such a way that movies like Jojo Rabbit and other subversive works could thrive along the trail he blazed. Things were not easy for Brooks, though, as he had to call in every favor he could and convince actors that a film about a “Hitler musical” would not ruin their careers in order to get his idea made. While divisive upon its release, it did earn Brooks an Academy Awards for Best Original Screenplay with a shift in cultural acclaim to follow in subsequent decades. As recently discussed in a review for Bringing Up Baby, it can often take a while for the audience to catch up to the comedy, but thankfully audiences appreciate The Producers for the landmark achievement it is for this brilliant comedic mind.
The great Zero Mostel (A Funny Thing Happened on the Way to the Forum) plays the unscrupulous Max Bialystock, a once-famous Broadway producer who has not had a hit in age and relies on payouts from older women for his “services” supposedly intended for his next play. If there is a way to scam his way through life, he will find it. His most promising opportunity walks right through his front door in the form of Leopold “Leo” Bloom (Gene Wilder, Willy Wonka and the Chocolate Factory), a nervous, buttoned-up accountant sent to audit Max’s accounts. Upon the discovery of a missing $2,000 from his last play, Max convinces a hesitant Leo to creatively hide the discrepancy since the play was a flop and no one will be the wiser. As a kind of financial exercise, Leo marvels over the fact that theoretically a producer could make more money from a flop than a success if the fraud was rampant enough and the play was a guaranteed failure. What amuses as a financial “what if” for Leo burrows quickly into the mind of the greedy Max, as he convinces his new, meek friend to make this a reality.
Where this film gets controversial is the same place where you realize you are watching something truly daring. As the pair flip through script after script, the only one that spells guaranteed financial disaster is the outrageously titled “Springtime For Hitler,” a sincere musical love-letter to the Führer written by the insane ex-Nazi Franz Liebkind (a fiercely funny Kenneth Mars). Anyone who would get upset over this should be uniquely suited for what this movie is trying to say. This is supposed to be a play so offensive that it would be forced to be closed after the first night. As Brooks so elegantly argued as a Jewish man himself, the Holocaust is the great outrage of the 20th century but thoughtful words on the subject are swiftly forgotten. It is only through ridicule that he can make something with a lasting impact that takes some of the power that the Nazis still hold. As you experience with the first lavishly produced titular opening number, Brooks has made something so over-the-top and painfully hilarious that you have to realize that his intentions stem from a place of power and noble intentions.
There are other portions of the film that may seem a bit lazy by today’s standards, the easy “gay” jokes of Christopher Hewett as flamboyant director Roger De Bris or the obvious sexist inclusions of dancing Swedish secretary, Ulla (Lee Meredith), do not play as well as they once did. Nevertheless, the one-two punch of Mostel and Wilder is enough to keep this film bringing wildly funny moments from beginning to end. With his first major on-screen comedic role, Wilder establishes his unique brand of nebbish humor that he would refine over the years with both Brooks and other major directors. His early freakout over the anger emanating from Max gives you a glimpse of the genius he would continue to establish himself as for years. For his first feature directorial effort, Brooks knocked it out of the park with what he was able to produce with his limited budget, as well as his eye for comedic talent to fill out the ensemble. This movie is incredibly clever and daring in a way that still resonates after fifty years.
Video Quality
The Producers returns to Blu-Ray courtesy of Kino Classics with a digital AVC encoded 1080p transfer in 1:85:1 derived from a previously restored 4K restoration provided by StudioCanal featuring extensive shot-by-shot color regrading. The film was previously available on Blu-Ray through Shout! Factory, but that release is out of print. While I do not have that disc for comparison, this presentation is pretty pleasing throughout most of the runtime with a few caveats. This transfer maintains the natural film grain of the presentation without becoming intrusive or clumpy. The picture experiences some slight fluctuations in density but mostly remains stable with strong detail. Colors are the most problematic issue with this release, as the color regrading has resulted in some inconsistencies in balance and saturation. Skin tones can especially present as unnatural at points. Instances of print damage have all but been eradicated with only the occasional speck and mark visible. Overall clarity and detail is stunning, but black levels are a bit of an issue in terms of crush and showing off fine detail. This new presentation from Kino Classics is an improvement in many respects, but certain issues keep this from being a 5-star effort.
Audio Quality
This new Blu-Ray comes with both a lossless DTS-HD 5.1 & 2.0 Master Audio mix that sounds pretty dynamic throughout this quick paced and quirky narrative. The dialogue holds up wonderfully, coming through clearly without being stepped on by the music or sound effects. The environmental effects are delineated nicely from the gunshots from Franz to the bird sounds on the roof. This is a film that utilizes music well, including the iconic “Springtime For Hitler” that comes alive in a pleasing manner. This and all of the other music is presented with great clarity and a pleasing fidelity as they come through the room. The track avoids most instances of age related wear and tear or distortion. This is a track that represents the film in a solid manner. Optional English subtitles are provided on this disc.
Special Features
- Audio Commentary: Film Historian Michael Schlesinger begins the track by addressing the weirdness over providing a commentary track while Brooks is still alive, but he does a fine job of offering up a factually rich commentary track. You might not get the personal anecdotes you might from another subject, but Schlesinger really delves into the background of the production, the performers, the film’s reception and legacy, and much more that proves a worthy listen.
- The Making of The Producers: A fantastic 63-minute feature in which Brooks, the cast and the creative team reflect back on the origins of the film, the whirlwind production, the release, the film’s legacy and so much more in between. Any fan of the film will gleefully devour this due to all of the insights to be gleaned here.
- Playhouse Outtakes: A nearly four-minute unused take from the “dynamite” scene.
- Sketch Gallery: A two-minute piece which shows off some sketches from the film including set ideas.
- Peter Sellers’ Statement Read By Paul Mazursky: A minute-long statement from actor Peter Seller (The Pink Panther franchise) in which he advocates for the release of The Producers.
- Radio Spot: A 30-second radio spot is provided here.
- Trailers: A two-minute trailer is provided for The Producers. There are also trailers provided for Spaceballs, Life Stinks, A Funny Thing Happened On The Way To The Forum, The Adventure Of Sherlock Holmes’ Smarter Brother, The Woman In Red and Haunted Honeymoon.
Final Thoughts
The Producers remains as subversive as ever, but more importantly it holds up as one of the great Mel Brooks comedies. The pairing of Zero Mostel and Gene Wilder is simply perfect for what this movie is trying to accomplish. At no point does this feature feel like the work of a bunch of amateurs, which is the basic truth of the matter. Even with a few dated elements, you cannot deny the brilliance of this work. Kino Classics has delivered a Blu-Ray with a decent A/V presentation and a nice array of supplements. Given that this movie should be in the collection of any self-respecting comedy fan, this new disc serves as the best representation of the film at this time. Recommended
The Producers is currently available to purchase on Blu-Ray and DVD.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Kino Classics has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
