The Producers 1967 123movies

Watch: The Producers 1967 123movies, Full Movie Online – Down-on-his-luck theatrical producer Max Bialystock is forced to romance rich old ladies to finance his efforts. When timid accountant Leo Bloom reviews Max’s accounting books, the two hit upon a way to make a fortune by producing a sure-fire flop. The play which is to be their gold mine? “Springtime for Hitler.”.
Plot: Broadway producer, Max Bialystock and his accountant, Leo Bloom plan to make money by charming little old ladies to invest in a production many times over what it will actually cost, and then put on a sure-fire flop, so nobody will ask for their money back – and what can be a more certain flop than a tasteless musical celebrating Hitler.
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Ratings:

	7.5/10 Votes: 56,471
	91% | RottenTomatoes
	96/100 | MetaCritic
	N/A Votes: 597 Popularity: 10.739 | TMDB

Reviews:

THE PRODUCERS (1967) – Mel Brooks’ first feature film starts with the funniest opening credits sequence I’ve ever seen – a monetarily motivated rendezvous between a serial Broadway failure and a sexually insatiable octogenarian – and then proceeds to get even more hilarious as it progresses. The fabulous Zero Mostel somehow manages to chew scenery for breakfast, lunch and dinner while never overshadowing any of the other players (whose performances are all also appropriately broad, to be honest). Interestingly, were it not for a little known film by the name of THE GRADUATE (1967) casting while this film was going into production, we would have had Dustin Hoffman as the starry-eyed Nazi playwright. So Dustin went on to fame in another picture; Kenneth Mars ended up with a juicy role in just his second feature film; and Mel got to skewer the Third Reich and win an Academy Award for writing while doing it. Sometimes things just work out.

**Greatest of all Time – GOAT – Best comedies.**

Easily my number one.

This film can be rewatched over and over again – always just as hilarious and timeless.

Zany Mel Brooks comedy is over-the-top laugh riot…
There are so many laughs in THE PRODUCERS (long before Mel Brooks lost his magic touch), that you’ll be in tears by the time Brooks gets to his “Springtime for Hitler” routine. ZERO MOSTEL’s early scenes with ESTELLE WINWOOD are hilarious enough, but he and GENE WILDER top themselves by the time you get to the frantic ending.

LEE MEREDITH is the curvy Ulla who can shake a mean hip and DICK SHAWN is the hilariously daffy Lorenzo St. DuBois (LSD for short), and everyone in the cast has a fine time delivering over-the-top performances in the spirit in which this sort of satire requires.

The story is simply that of a producer running short on cash who devises a scheme whereby if he produces the worst musical in the world, he can actually get his investment back and then some. He convinces his mild-mannered bookkeeper GENE WILDER to join him in the scheme and then the fun gets off to a great start.

The climactic “Springtime for Hitler” is just one of the delirious highlights (if politically incorrect by today’s standards), and is probably the reason so many of the comments here resent the film and everything it stands for. But there’s no getting away from it–the script is downright brilliant and original–winning an Oscar for Best Original Screenplay and numerous other writing awards including an award from The Writer’s Guild of America.

Summing up: Mel Brooks at his wittiest.

A Milestone in Film-making
The DVD release of “The Producers” sends me every viewing back to 1968 when I first saw this brilliant, barrier-smashing comedy. Zero Mostel and Gene Wilder were the perfect pair to bring to life the adventures of a Broadway faded impresario, now a con man, and his neurotic, hyper, accountant accomplice.

Together they fleece old ladies, something Mostel’s Max Bialystock was doing before the auditor, Max Bloom, came by to check the books. Mostel’s seduction of the old, the awful and the ugly has no equal in movie physical comedy.

The scheme: put on the worst flop imaginable and when it closes virtually after opening night the two scammers snare riches: the investments they don’t have to return. But if the show is a hit…

The producers’ vehicle, “Springtime for Hitler,” both brought audiences to a new level of appreciation for the malleable, creative power of film and…it made some viewers genuinely nervous, even upset.

Following Steve Allen’s observation that a formula for comedy based on history is Tragedy+Time, director Mel Brooks brought to the screen, less than a quarter century after World War II ended, Dick Shawn as a campy fuehrer surrounded by the Nazi counterpart of the Rockettes. And Max and Leo are clearly Jewish in character if not so openly identified.

Kenneth Mars grabs laughs as the author of “Springtime for Hitler,” an unreconstructed, Hitler-adoring flake who raises pigeons on the roof of a Manhattan tenement while accoutered in the odd leftovers of Wehrmacht uniforms.

When I fitted in seeing “The Producers” in its opening week I sat in the middle of an audience that was, to a certain extent, as befuddled as the film’s playgoers watching the first part of the intended-to-outrage musical comedy about the Third Reich. Not only were SS uniforms, swastikas and photos of Hitler on the “stage” but the movie theater audience also digested, perhaps for the first time, a send-up of an uproarious gay couple, two real queens. One is effeminate to the core, the other is a cross-dresser (and a faultlessly garish one at that). This kind of stuff hadn’t been done before in a Hollywood flick.

1968’s audience had many who well-remembered World War II and some had fought in the conflict. I knew people who admitted feeling that the horrific global battle against Hitler had been trivialized by Brooks and his extroverted cast – until they could no longer hold back guffaws that segued rapidly into uncontrolled laughter.

That “The Producers” is also now a runaway Broadway hit is no surprise and I’d love to see a DVD release with Lane and Broderick. However fine they would be, it’s the original that broke barriers.

The DVD has a number of worthwhile features including a fascinating “Making of…” segment. Peter Seller’s short, famous encomium is read and there are the usual other additions. An outtake presenting an alternative blow-up of the “Springtime for Hitler” theater is interesting, largely because it shows how perceptive Brooks was in scrapping it for the shorter scene actually used.

“The Producers” is, in some ways, a subversive movie. Without stridently proclaiming a new aesthetic, it is exactly that and so it’s a timeless classic. This is not satire about Nazism, Hitler and the Third Reich. It’s treating as suitable material for slapstick and quick gags the detritus of an evil time.

But it’s also a bit dated, no subject is taboo today for comedic treatment, and many who see it for the first time (as my teenage son did tonight) will enjoy the movie without getting the full impact of its assault on conventionality.

Is there any historical topic that will not, in the passage of time, be employed for pure comedy? Is it possible that the next generation will laugh at a comedy parodying Auschwitz? I hope not but I also can’t be sure.

Many years ago I refused to watch “Hogan’s Heroes” on TV because I personally knew former U.S. POWs. But that show, with Werner Klemperer as Colonel Klink, was very popular. “Hogan’s Heroes” was to TV what “The Producers” was, and is, to film. And both made a mark that will be emulated as future generations go beyond satire to humorous treatment of matters most today consider beyond the pale of acceptability as a vehicle for laughs.

10/10

Other Information:

Original Language en
Runtime 1 hr 28 min (88 min)
Budget 947000
Revenue 0
Status Released
Rated PG
Genre Comedy, Music
Director Mel Brooks
Writer Mel Brooks
Actors Zero Mostel, Gene Wilder, Dick Shawn
Country United States
Awards Won 1 Oscar. 3 wins & 5 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.37 : 1 (negative ratio), 1.85 : 1 (theatrical ratio)
Camera N/A
Laboratory Pathé Laboratory, USA (prints by) (as Pathe)
Film Length 2,425 m (Finland)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm