Réalisation:
Mel BrooksScénario:
Mel BrooksPhotographie:
Joseph F. CoffeyMusique:
John MorrisActeurs·trices:
Zero Mostel, Gene Wilder, Dick Shawn, Kenneth Mars, Renée Taylor, William Hickey, Mel Brooks, Andréas Voutsinas, Lee Meredith, Bill Macy (plus)Résumés(1)
Jadis célèbre producteur à Broadway, Max Bialystock est désormais contraint de soutirer de l’argent à de riches octogénaires libidineuses en faisant le gigolo. Un jour débarque le timide et névrosé Leo Bloom, chargé de vérifier ses comptes. Constatant certaines irrégularités, le comptable fait remarquer qu’il y aurait beaucoup d’argent à se faire en montant un spectacle qui s’avérerait être un flop immédiat. Les deux comparses décident de s’associer et tombent sur le projet parfait : une comédie musicale intitulée "Le Printemps d’Hitler", écrite par un certain Franz Liebkind, faisant l’apologie du Troisième Reich. Max et Leo sont persuadés qu’ils tiennent là un four assuré. Mais le public sera-t-il du même avis ? (Carlotta Films)
(plus)Vidéo (1)
Critiques (6)
The most successful and funniest Brooks film. For me, anyway. It's impossible not to laugh at Max's seduction of "older" women, Leo's neurotic fits, or the crazy Nazi screenwriter. When the worst happens (yes, the premiere of the musical), all that's left to do is roar with laughter and bang your hands on the sofa. "Germany was having trouble, what a sad, sad story. Needed a new leader, to restore it’s former glory…" ()
Yes! Mel Brooks may have made better and funnier films, but I have to admit that The Producers has an undeniable charm. First of all, it's always nice to see big Hollywood, or rather the equally big Broadway, making fun of itself, and it's an even nicer feeling when its extensive mockery has Adolf Hitler and the Nazis as its target. And Brooks fulfils his mischievous plan to perfection, putting together a very original and witty script and letting all the talented actors perform in such a style that you don't know where to turn your eyes (Dick Shawn triumphed in the end for me, he’s truly unforgettable as gay Hitler). The age has taken its toll, but the idea remains excellent. 75% ()
I have never really liked films by Mel Brooks because my sense of humor is simply set differently. On the other hand, the film received a few awards, including an Oscar for the screenplay, and the reviews and comments were very decent, so I eventually invested in The Producers. Although I acknowledge that it is Brooks' best film, I certainly didn't go crazy about it. Honestly speaking, it is the only film where I didn't roll my eyes at the humor used in moments when I felt it was slipping into awkwardness. The most valuable thing is the idea itself, but its execution tends to get lost in it. I miss that refined word humor of someone like Francis Veber and truly clever gags. With the exception of Gene Wilder, the actors in the lead roles didn't sit well with me either. However, I think there was potential here and it would have been interesting if a specialist in comedies had filmed a remake based on a quality screenplay. I haven't seen the new version of this film yet, but according to reviews, it is weaker. Overall impression: 55%. ()
The first version of The Producers that I ever saw was the one from 2005. I don’t think it’s ideal to see a remake first, but it allows for comparison. The 2005 Producers is a classic musical infused with crazy comedy. This version is not far from being a crazy comedy, but it is primarily a satire of how the behind-the-scenes workings of creating musicals operate, complete with all their shortcomings and deceptions. Max Bialystock raises money for his terrible shows by pleasing wealthy retired ladies, who then sign his "little contract," without which he cannot produce the plays. It is during one of these encounters that Leo Bloom, an accountant, arrives to help him get his books in order. He discovers an interesting fact: they can make a huge amount of money by producing a show that is an absolute flop. And so they start working on a play titled Springtime for Hitler. Believe me, the main melody will—whether you like it or not—echo in your head long after the movie ends. The original Producers is not a musical in the true sense of the word. Singing occurs only when the play is being rehearsed or when it is directly presented to a very dissatisfied audience. While the 2005 Producers heavily leans on a homosexual interpretation, Mel Brooks took advantage of the fact that the 1960s were the era of hippies, which worked perfectly for the film. Hitler in this rendition was simply brilliant. Mel Brooks didn’t create a film filled with twists; its plot is straightforward, making it easier to focus on the comedic aspect, which works flawlessly here. It’s a legendary film that didn’t need a remake, but it happened. Many viewers might find the new version more palatable, but in its execution, the comedy comes off as a silly farce. ()
♫ Germany was having trouble, what a sad, sad story. Needed a new leader, to restore it´s former glory. Where, where was he? Where could that man be? We looked around and then we found, the man for you and me. And now it's... Springtime for Hitler and Germany. Deutschland is happy and gay. We're marching to a faster pace, look out, here comes the master race. Springtime for Hitler and Germany. Winter for Poland and France. Springtime for Hitler and Germany. Come on, Germans, go into your dance. I was born in Düsseldorf and that is why they call me Rolf. Don't be stupid, be a smarty come and join the Nazi party! Springtime for Hitler and Germany. Goose step's the new step today. Bombs falling from the skies again. Deutschland is on the rise again. Springtime for Hitler and Germany. U-boats are sailing once more. Springtime for Hitler and Germany. Means that soon we'll be going... We've got to be going... You know we'll be going... To war! ♫ ()
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