By Lance J. Olson, December 17, 2005

Nathan Lane (NLANE) and Matthew Broderick (MBROD) reprise their Tony Award-winning Broadway roles as Max Bialystock and Leo Bloom in this new cinematic version of the 1968 Mel Brooks movie, The Producers (PRODC). This rendition successfully combines both stage and screen sensibilities in this sprightly, energetic and lively romp.

Max Bialystock is a formerly-great Broadway producer whose shows now open and close in one night, much to the delight of theatre fans who attend just to witness his latest song-and-dance fiascos. He is played masterfully by Nathan Lane, with just the right mix of manic desperation and single-mindedness that makes him a delight to watch. Max is about to seduce one of his many wealthy spinster financial backers when Leo Bloom of Whitehall and Marx Accounting Firm appears. Broderick portrays Bloom as the epitome of the uptight, closed-down accountant who relates more to numbers than flesh (and who also answers the question: "Whatever happened to Linus van Pelt of Peanuts© fame?"). But Bloom has a secret dream of becoming a Broadway producer and, after a hilarious, over-the-top, near-nervous breakdown, he agrees to fulfill the production’s accounting duties.

Leo notices glaring irregularities in Max's accounting and proposes a novel concept: If more money is raised than is needed to cover the backers of a sure-fire Broadway bomb, then the rest of the dough would be theirs to take. Max, the anti King Midas of live theatre, seizes upon the scheme, convinces Leo to become his partner and searches for the perfect god-awful production, director and cast.


Enter "Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden", a musical written by fugitive Nazi Franz Liebkind (Will Ferrell (WFERR)). Set in Hitler's flower-flushed mountain retreat before the fall of the Third Reich, Liebkind's musical portrays der Führer as a warm, loving and benevolent ruler. Liebkind's passion for pigeons — look for the one named Adolf — mirrors his unwitting involvement in the Bialystock and Bloom production. Liebkind fully believes his musical has merit and he's thrilled the "true" story of Adolf 'Elizabeth' Hitler will soon be shown for all to see in 1959 America.

Once the musical rights are secured, Bialystock and Bloom visit the world’s worst musical director: Roger De Bris (Gary Beach). De Bris is the Queen of Camp Broadway—literally and figuratively (and what a figure he reveals wearing a Chrysler Building inspired gown!) De Bris’ common law assistant, Carmen Ghia — you have to love the witty double-entendre names throughout — is played to surprisingly mincing perfection by Roger Bart (the now-deceased pharmacist of ABC’s Desperate Housewives). No gay and lesbian stereotype is safe from parody, and an anachronistic disco ensemble delights and surprises. De Bris, anxious to be known for historically groundbreaking musicals — and coveting a potential Tony Award, agrees to direct "Springtime for Hitler" with the caveat that the production be "more gay".


The next day, fresh from the snowy slopes of Sweden, Ulla (Uma Thurman (UTHUR) — no, I will not do the "Ulla, Uma. Uma, Ulla: bit. Oops!) sweeps into the overly-stuffed offices of Bialystock and Bloom. She wants to be cast in the new musical as much as Bialystock wants her on his casting couch. Ulla's audition (and breasts and butt and looooong legs) convinces the producers to retain her as their leading lady (and their secretary/receptionist/tidy upper). Uma is radiant as Ulla, whose not-so-naive seductive charms wow Leo Bloom (and whose Scandinavian design sense transforms the messy office with a clean coat of white paint).

At this point the production money is raised, the stage is set and the cast has been chosen. What occurs in the second part of the movie will engage and entertain most audiences, especially those who appreciate live theatre. Another strong element in The Producers is the blissfully wicked, not-at-all politically-correct depiction of all the players -- whatever ethnicity, age, gender and persuasion. No one is spared, and the actors have fun playing such broad and colorful characters. The production numbers are surprising and stunning, with sight gags and delightful sound effects that create glee-filled sensations. Fans of Auntie Mame, Noises Off and the less-dreary parts of Chicago and Moulin Rouge will enjoy this outing of The Producers. Look for the many delightful walk-on roles of Hollywood B-Listers, the many failed, fictional production posters in the background — and stay past the credits!

The background designs were realistic to the point of seeming to be set on a stage; that is, theatrical realism was achieved instead of the expected true-to-life reality a film has. This succeeded in making the audience feel more like an invisible member of the troupe via the camera moves, and gave the set a depth not achieved easily on stage. The lighting also eschewed complex light and shadow (even in the obvious outdoors shots), so the cartoonish brevity thus attained aided the comedy throughout and the movie's characters felt right at home. The costumes were fitting for late '50s Manhattan. The production numbers shined, as the various dresses (and un-dresses—ahem) were sumptuously clothed. Nothing felt out of place, even as everything was geared to the silly extreme.

I enjoyed "The Producers" thoroughly; it succeeded as a send-up of all that is East Coast high theatre and West Coast movie making. I laughed at the puns, pratfalls and posturing, as did the rest of the audience. However, I rushed to the lobby afterwards to overhear their remarks (and to confirm that I wasn't the only one laughing.) No need to worry. The audience—very diverse in ages, ethnicities and genders—shared positive, upbeat and appreciative comments. I heard "delightful!", "enjoyable!", "so funny!", "wonderful!" and the lobby was filled with the sights and sounds of smiles and chuckles. The Producers movie entertains in a very broad way. Go. See. Guffaw!

The Producers opens in limited release December 16, and expands nationally December 25.

We have a little contest for you trivia buffs out there. Nathan Lane played a Drag Queen in Birdcage. His housekeeper/houseboy was played by Hank Azaria (HAZAR) . Whom did Azaria base his performance on? First correct answer to advice@hsx.com wins some Producers schwag.

Lance J. Olson is a contributing writer to the Hollywood Stock Exchange. He can be contacted at lanceoutwest@yahoo.com