The original version was the first feature for comedy legend Mel Brooks- in it a pair of inept Broadway showmen try to scam their backers by intentionally staging a musical flop. The basic plot is the same for all incarnations though- the duo obtain the worst script possible (Springtime for Hitler, a nostalgic ode to Nazi Germany), hire the worst director, and cast horrific actors, only to find their sure-fire failure has become a major success.
At present I have only seen the two film versions of the story (we are finally getting The Lion King where I live this season, so I expect to see The Producers on stage sometime in 2013), and between them the original is still slightly more entertaining. It has the benefit of being first, and also earns points for being one of the first post-WWII films to successfully use Nazism as an object for satire. However, as an artistic work this new “Producers” is an outstanding achievement in it’s own right.
The new film reunites most of the stage cast, including Nathan Lane as the down on his luck producer Max Bialystock and Matthew Broderick as his meek accountant and partner in crime Leo Bloom. Joining Lane, Broderick, and company are “Producers” newcomers Uma Thurman as the leggy secretary Ulla, and Will Ferrell as the demented playwright Franz Liebkind. For the most part, the cast lives up to the expectations set by their predecessors. Thurman and Ferrell in particular handle the expanded storylines of this film’s Ulla and Franz admirably. Lane is also wonderfully over the top as Max; if there ever was a perfect successor to Zero Mostel for this role, he is it.
The only questionable acting in the film comes from Broderick, who seems to be performing Leo as if he were still in the stage version. While watching, I noticed a certain exaggeration to Leo’s emotions, which can be necessary for the audience dynamic of stage performance. It’s kind of an old-fashioned (yet still vital) acting technique, meant to convey emotion to the back rows as well as the front. However on the big screen, where subtleties of acting are often much more visible, this can be kind of distracting to the viewers.
I personally did not have big problem with it, because I felt it was part of an overall attempt to recreate a classic movie musical style (along the lines of “Singin’ in the Rain”), where such techniques were more commonplace. Other instances of the retro-musical at work include Leo and Ulla’s dance sequence, which evokes the feel (if not the technical skill) of an Astarire/Rogers film. Also, Max performs an old-school tap dance number with the little old ladies he romances for his finances. In fact, from the staging to the set design to the style of the music itself, everything in the film seems to have that golden age cinema feel. I enjoyed it, partially because I appreciated all the little touches of authenticity. Others may not- it’s all up to the individual viewer.
One thing that should be apparent to all though, is that this is a story that cares about its characters. Ultimately, that is what makes all the versions of “The Producers” quality works; despite how crass their musical and their plan may be, we still want to like Max and Leo. We understand that Max is a shell of his former self who wants to do great things again, so we get behind him. We see that Leo is an innocent who desperately wants and needs to come out of his shell, so we root for him too.
I believe that “The Producers” is a funny, charming film and a terrific old-school musical, so I’m recommending it. Hopefully you will see that as well- and if you do, for goodness sakes, stay through the credits!
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