The Producers

I am a huge fan of the original movie and had the pleasure of seeing the wonderful Broadway show in 2003, so I was more than expecting to love this remake. Unfortunately it didn't live-up to my expectations on a number of fronts.

Most fundamentally, it seemed more of a cinematic rendering of the stage show than a remake of the movie - the problem is that it utterly lacks the charm of the 1968 film, and fails to capture the excitement and energy of the show. This is not to do with the actors, who all put in great performances and do the best job possible with their roles. Though, I wonder if it was a good idea to keep the leads from Broadway - playing a part on stage is very different from doing the same thing in a movie. This is at the heart of what is wrong with this movie - it is trying to be cinematic and theatrical at the same time.

Also, they have cut some of the funniest scenes and changed some of the best lines from the original. Why, I wonder? For example, the first encounter between Max and Leo in the original movie is hilarious and dramatic - a magnificent opening set-piece, with drama, humour and conflict. In this version, Leo just knocks on the door and introduces himself. Bit of a damp squib, really.

Overall, I am not sure what to make of this movie. I would probably have enjoyed it more if I had not seen the original. But not much.

What a fantastic surprise. I've seen Luke-warm reviews about this film, largely saying that the theatrical basis (the Broadway show) is oh-so-evident. Well, in my opinion, this is one of the film's strengths. It's a well-intentioned performance and is close enough to the original Producers, and so unlike it, that the musical remake is justified.

I love musicals, especially musical comedy. This film is a sop to the musical comedy, with good performances from the leads, and Uma Thurman and Will Ferrell, who all appear to be enjoying themselves.

The central (staged) number "Springtime for Hitler" is brilliantly choreographed, with suitably outrageous costumes. Gary Beach as a brilliantly camp Hitler completes this excellent scene. And the bratwurst!! The editing in this sequence - camera panning to the gob-smacked audience is brilliant. This is a film that salutes and spoofs musicals. It's an absolute delight

After reading critics' reviews I thought twice about seeing this film. But I needn't have worried as this was fantastic entertainment. I don't seem to care that the director has kept the stagy sets and took a literal approach to adapting a stage musical for the big screen. It was a fun time from beginning to end.

While his portrayal of Leo Bloom was too much like Gene Wilder's, Matthew Broderick was simply divine when dancing. Indeed it was an interesting to see the top half of his body so still and rigid while his legs and feet were moving with such poise and grace. Nathan Lane never seems to disappoint, he is simply brilliant. His physical resemblance to Zero Mostel is obvious but the mannerisms are all his own. Uma Thurman is good as Ula and Will Ferrell rediscovers his funny.

I didn't even mind the over-the-stop stereotypes. Gary Beach and Roger Bart are screamingly funny. Springtime for Hitler is the best part of the show and nice to see John Barrowman giving it his all as the blond Nazi.

If you want to be entertained for a few hours then this is the movie to go see, don't let the critics put you off!

Imagine watching a play, but the over-the-top acting that gives an audience 50 feet away a connection to a play's actors, is painfully irritating when watching it 6 feet away on TV, or blown up on a movie screen. Bad. Bad. Very very bad , in a movie format. At least the songs, while novel, had music that was entirely forgettable. While this may have been a fine musical play (though I doubt it, and I enjoy musicals) it was irritating as a movie. The characters dialogue was not comical- simply over the top (like the acting) and bizarre - intended to be funny simply for the crude, crass degree of bizarreness.

Unless you get into watching mediocre musicals on film, I'd pass this one by.

A little more music and embellishing of several plot points that were passed over in the original film are what distinguishes this musical version of The Producers. It's a musical version about a film that had a plot about two men who try to create the biggest flop in the history of Broadway and a musical.

Taking the places of Zero Mostel and Gene Wilder as the producing partners Bialystock&Bloom are Nathan Lane and Matthew Broderick. Both these guys are given an impossible task of repeating two classically congruent performances that Mostel and Wilder created. Even the additional bits of business just can't make me forget the original.

Will Ferrall did not come over from Broadway to do the role of the hermit like Nazi living in Greenwich Village and caring for his carrier pigeons. He had to do double duty because he also took the place of beatnik method actor Dick Shawn from the original. I'm not sure that combining the roles was the best thing, I'm also not sure Ferrall did real justice to either try as he might on both. Kenneth Mars was the reclusive Nazi author of Springtime For Hitler. in the original. Both he and Shawn were almost as memorable as Mostel and Wilder.

I do love the Mel Brooks humor, but I think he laid it on a bit thick with the gay stereotyping of Gary Beach and Roger Bart. It came this close to the good side of being offensive, but not quite.

There's a lot to like in this version of The Producers, but I think Mel should not have touched his masterpiece.