From the endlessly funny mind of filmmaker Mel Brooks comes this triple-Oscar-®-winning explosion of pure comic lunacy about low-rent Broadway producer Max Bialystock (Zero Mostel) and his high-strung accountant Leo Bloom (Gene Wilder). They discover that, with the help of a few gullible investors, they can make more money on a flop than on a hit. So armed with the worst show ever written – “Springtime For Hitler” – and an equally horrific cast, this double-dealing duo is banking on disaster. But when their sure-to-offend musical becomes a surprise smash hit, they find themselves in the middle of a Broadway blitzkrieg!


This 1968 version of Mel Brooks’ “The Producers” is a much better film than the recent one unveiled at the end of 2005. We had watched the original movie some time ago and we thought it was quite funny. On second viewing though, some of the fun one had that first time, seems to have disappeared somehow. It seems inconceivable, but this time we found little to laugh about, although this version should have been the definite one because of the presence of Zero Mostel and Gene Wilder is far superior than the stars seen on the latest version.

Zero Mostel was a colossus in the New York stage. He was a man who could do anything at all and still give an honest performance to everything he did. It was Mr. Mostel’s misfortune to have been blacklisted at a time where his career was at an all time high. When film work stopped, Mr. Mostel had the theater to go back. Who knows how far this actor would have gone if he hadn’t been a victim of the McCarthyism that ruined many lives.

Whilst jabbing at the troubles of Broadway, Brooks’ directorial debut’s concerned with two overtly Jewish characters who are, in the best tradition of Jewish comedy, doomed to failure, in a film steaming with conflict on every level. Whilst there may be a prominently Jewish-American sensibility about Brooks’ work, it’s a feature that he’s chosen to leave out after this film, apart from the Yiddish Native American chief in Blazing Saddles, the metal detector scene in High Anxiety, occasional comments in To Be or Not To Be and the fictitious trailer for Jews in Space in History of the World Part I. But what he’s maintained, and what I feel—having grown up in a family of Brooks fanatics—is what makes a particular generation enjoy him so insatiably, is a pure audacity, mischievous delight, eagerness to leap any bound for a laugh.

The Blu-Ray comes with a documentary, featurette, trailer, deleted scene and photo gallery. The A/V Quality sports a strong 1080p transfer. You also get the original mono track and a restored DTS-HD 5.1 master audio mix. If that wasn’t enough, you also get a DVD copy. In the end, I’d recommend a purchase.



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