The Producers (1968 film)

From Infogalactic: the planetary knowledge core
Jump to: navigation, search
The Producers
File:The Producers (1968).jpg
Theatrical release poster
Directed by Mel Brooks
Produced by Sidney Glazier
Written by Mel Brooks
Starring Zero Mostel
Gene Wilder
Kenneth Mars
Dick Shawn
Music by John Morris
Cinematography Joseph Coffey
Edited by Ralph Rosenblum
Distributed by Embassy Pictures
Release dates
  • March 18, 1968 (1968-03-18)[1]
Running time
88 minutes[1][2]
Country United States
Language English
Budget $941,000[3][4]
Box office $1.6 million (rentals)[5]

The Producers is a 1968 American satirical comedy film written and directed by Mel Brooks. The film is set in the late 1960s and tells the story of a theatrical producer and an accountant who want to produce a sure-fire Broadway flop. They take more money from investors than they can repay (the shares they sell total more than 100% of any profits) and plan to abscond to Brazil as soon as the play closes, only to see the plan go awry when the show turns out to be a hit.

The film stars Zero Mostel as Max Bialystock, the producer, and Gene Wilder as Leo Bloom, the accountant. It features Dick Shawn as L.S.D., the actor who ends up playing the lead in the musical within the movie, and Kenneth Mars as a playwright and former Nazi soldier, Franz Liebkind.

The Producers was the first film directed by Brooks. He won an Academy Award for Best Original Screenplay. Decades later, the film was selected for preservation in the National Film Registry and placed 11th on the AFI's 100 Years...100 Laughs list. It was later remade successfully by Brooks as an acclaimed Broadway stage musical, which itself was adapted as a film.


Max Bialystock (Zero Mostel) is a washed-up, aging, fraudulent, corruptible and greedy Broadway producer who ekes out a living romancing lascivious, wealthy elderly women in exchange for money for his next play. Accountant Leopold "Leo" Bloom (Gene Wilder) arrives at Max's office to do his books and discovers there is a $2,000 discrepancy in the accounts of Max's last play. Max persuades Leo to hide the relatively minor fraud, and while shuffling numbers, Leo has a revelation: a producer could make a lot more money with a flop than a hit by overselling shares in the production, because no one will audit the books of a play presumed to have lost money. Max immediately puts this scheme into action. They will oversell shares on a massive scale and produce a play that will close on opening night, thus avoiding payouts and leaving the duo free to flee to Rio de Janeiro with the profits. Leo is afraid such a criminal venture will fail and they will go to prison, but Max eventually convinces him that his drab existence is no better than prison.

After reading many bad plays, the partners find the obvious choice for their scheme: Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden. It is "a love letter to Hitler" written in total sincerity by deranged ex-Nazi Franz Liebkind (Kenneth Mars). Max and Leo persuade Liebkind to sign over the stage rights, telling him they want to show the world "the Hitler you loved, the Hitler you knew, the Hitler with a song in his heart." To guarantee that the show is a flop, they hire Roger De Bris (Christopher Hewett), a director whose plays "close on the first day of rehearsal." The part of Hitler goes to a charismatic, but only semi-coherent, flower power hippie named Lorenzo St. DuBois, a.k.a. L.S.D. (Dick Shawn), who can barely remember his own name and mistakenly wandered into the theater during the casting call. After Max sells 25,000% of the play to his regular investors (dozens of lustful little old ladies), they are sure to be on their way to Rio.

The result of all this is a cheerfully upbeat and utterly tasteless musical play purporting to be about the happy home life of a brutal dictator. It opens with a lavish production of the title song, "Springtime for Hitler," which celebrates Nazi Germany crushing Europe ("Springtime for Hitler and Germany/Winter for Poland and France"). After seeing the audience's dumbfounded disbelief, Max and Leo, confident that the play will be a flop, go to a bar across the street to celebrate and get drunk. Unbeknownst to them, the audience ends up finding L.S.D.'s beatnik-like portrayal (and constant ad-libbing) hilarious and misinterprets the production as a satire. During intermission, some members of the audience come to the bar at which Max and Leo are drinking and rave about the play, much to Max and Leo's horror. The two decide to return to the theater after intermission to hear what the rest of the audience has to say, which echoes what the others already said. Meanwhile, L.S.D.'s portrayal of Hitler enrages and humiliates Franz, who — after going behind the stage, untying the cable holding up the curtain, and rushing out on stage — confronts the audience and rants about the treatment of his beloved play. However, someone behind the curtain manages to knock him out and remove him from the stage, and the audience assumes that Franz's rant was part of the act. Springtime For Hitler is declared a smash hit, which means, of course, that the investors will be expecting a larger financial return than can be paid out.

As the stunned partners turn on each other, a gun-wielding Franz confronts them, accusing them of breaking the "Siegfried Oath." After failing to shoot Max and Leo, Franz tries to shoot himself but runs out of bullets. Leo comforts Franz while Max tries to convince Franz to kill the actors, but Leo intervenes. After a reconciliation, the three band together and decide to blow up the theater to end the production, but they are injured, arrested, tried, and found "incredibly guilty" by the jury. Before sentencing, Leo makes an impassioned statement praising Max (while also referring to him as "the most selfish man I have ever met in my life"), and Max tells the judge that they have learned their lesson.

In prison, Max, Leo, and Franz start producing a new play called Prisoners of Love. Leo continues the same old scam of overselling shares of the play, to the other prisoners and the warden (50%). The song "Prisoners of Love" plays while the credits roll.



Mel Brooks wanted to title the film Springtime For Hitler, but Embassy Pictures producer Joseph E. Levine would not let him. Then, following a screening that Peter Sellers attended, both he and Levine talked about a release for the film, which he liked a lot. When Brooks was brought in he chose the film's popular title. Sellers was one of several actors considered for the film.

The original screenplay had Liebkind make Max and Leo swear the Siegfried Oath.[8] Accompanied by The Ride of the Valkyries, they promised fealty to Siegfried, Wagner, Nietzsche, Hindenburg, the Graf Spee, the Blue Max and "Adolf You-Know-Who". The Siegfried Oath was restored in the musical version.[9] In a making-of documentary that accompanied the 2002 DVD release of the film,[8] Brooks says that Dustin Hoffman was originally cast as Liebkind. According to Brooks, late on the night before shooting began, Hoffman begged Brooks to let him out of his commitment to do the role so that he could audition for the starring role in The Graduate. Brooks was aware of the film, which co-starred Brooks' wife, Anne Bancroft, and, skeptical that Hoffman would get the role, agreed to let him audition. When Hoffman did win the role of Ben Braddock, Brooks called in Kenneth Mars as Liebkind. Another man he called in was Bill Macy (the husband in the TV series "Maude"), who played the jury foreman in a cameo role.

The film was shot at the Chelsea Studios in New York City, where the musical version (2005) was also shot.[10] Additional footage included such midtown Manhattan locales as Central Park, the Empire State Building and Lincoln Center.

Writer-director Mel Brooks is heard briefly in the film, his voice dubbed over a dancer singing, "Don't be stupid, be a smarty/Come and join the Nazi Party," in the song Springtime For Hitler. His version of the line is also dubbed into each performance of the musical, as well as the 2005 movie version.


According to Brooks, after the film was completed, Embassy executives refused to release it as being in "bad taste." The film's premiere in Pittsburgh, Pennsylvania on November 22, 1967,[1] was a disaster and the studio considered shelving it. However, Peter Sellers saw the film privately and placed an advertisement in Variety in support of the film's wider release.[8][11] Sellers was familiar with the film because, according to Brooks, Sellers "had accepted the role of Bloom and then was never heard from again."[8][11] It has been alleged that the film was "banned in Germany".[12] Following the film's lackluster response in the UK, German distributors did decline to distribute it,[citation needed] but their lack of interest did not constitute a ban.

In Sweden, however, the title literally translates as "Springtime for Hitler". As a result of its success, all but two of Mel Brooks movies in Swedish have been given similar titles: "Springtime for Mother-In-Law" (The Twelve Chairs); "Springtime for the Sheriff" (Blazing Saddles); "Springtime for Frankenstein" (Young Frankenstein); "Springtime for the Silent Movies" (Silent Movie); "Springtime for the Lunatics" (High Anxiety); "Springtime for World History" (History of the World, Part I); "Springtime for Space" (Spaceballs); and "Springtime for the Slum" (Life Stinks).[13]


When it was first released, the film received a mixed response and garnered exceptionally harsh reviews from critics: Stanley Kauffmann ("the film bloats into sogginess", The New Republic); Pauline Kael ("amateurishly crude", The New Yorker); and Andrew Sarris—partly because of its directorial style and broad ethnic humor.[14] Negative reviewers noted the bad taste and insensitivity of devising a broad comedy about two Jews conspiring to cheat theatrical investors by devising a designed-to-fail singing, dancing, tasteless Broadway musical show about Hitler, 23 years after the end of World War II.[15] Renata Adler wrote that it was a "violently mixed bag. Some of it is shoddy and gross and cruel; the rest is funny in an entirely unexpected way. It has the episodic, revue quality of so much contemporary comedy—not building laughter, but stringing it together skit after skit, some vile, some boffo. It is less delicate than Lenny Bruce, less funny than Dr. Strangelove, but much funnier than The Loved One or What's New Pussycat?" According to her, Mostel is "overacting grotesquely" while co-star Wilder is "wonderful", playing his part "as though he were Dustin Hoffman being played by Danny Kaye".[2]

Others considered the film to be a great success. Time magazine's reviewers wrote that the film was "hilariously funny [...] Unfortunately, the film is burdened with the kind of plot that demands resolution [... and] ends in a whimper of sentimentality." Although they labelled it "disjointed and inconsistent",[16] they also praised it as "a wildly funny joy ride",[17] and concluded by saying that "despite its bad moments, [it] is some of the funniest American cinema comedy in years."[18] The film industry trade paper Variety wrote, "The film is unmatched in the scenes featuring Mostel and Wilder alone together, and several episodes with other actors are truly rare."[19] Over the years, the film has gained in stature, garnering a 93% certified fresh rating from Rotten Tomatoes. On Metacritic, the film holds an extremely high rating of 97, making it one of the highest rated films on the site as well as the second highest rated comedy (behind The Wizard of Oz). In his review decades later, Roger Ebert claimed that "this is one of the funniest movies ever made."[20][21] Ebert wrote, "I remember finding myself in an elevator with Brooks and his wife, actress Anne Bancroft, in New York City a few months after The Producers was released. A woman got onto the elevator, recognized him and said, 'I have to tell you, Mr. Brooks, that your movie is vulgar.' Brooks smiled benevolently. 'Lady,' he said, 'it rose below vulgarity.'

Awards and honors

In 1968, Mel Brooks won the Academy Award for Best Original Screenplay, and Gene Wilder was nominated for the Academy Award for Best Supporting Actor. In addition, Zero Mostel was nominated for the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy, and Brooks was nominated for the Golden Globe Award for Best Screenplay.

In 1969, The Producers won a Writers Guild of America, East Best Original Screenplay award.

In 1996, the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.

American Film Institute recognition

Re-releases and adaptations

In 2002 The Producers was re-released in three theaters by Rialto Picktures and earned $111,866[22][23] at the box office. As of 2007, the film continues to be distributed to art-film and repertory cinemas by Rialto.[citation needed]

Brooks has adapted the story twice more, as a Broadway musical (The Producers, 2001) and a film based on the musical (The Producers, 2005).

This film has spawned several home media releases on VHS, Laserdisc, CED, and VCD from companies such as Magnetic Video, RCA, Polygram Video, Speedy, and Lumiere Video. There was a 1997 letterbox edition Laserdisc released by Polygram Video, which served as the basis for the extremely rare 1998 Polygram DVD release.

MGM (who owns most U.S rights to the Embassy Pictures library on behalf of StudioCanal) released The Producers (1968) on DVD (R1) in 2002 and 2005 (to coincide with the remake released that year). In 2011, MGM licensed the title to Shout! Factory to release a DVD and Blu-ray combo pack with new HD transfers and bonus materials. StudioCanal (Worldwide rights holder to all of the Embassy Pictures library) released several R2 DVD editions and Blu-ray B releases using a transfer slightly different to the North American DVD and BDs.


In popular culture

  • Peter Sellers appeared on Michael Parkinson's BBC1 chat show Parkinson in a Nazi helmet reciting the entire "Hitler was a better painter than Churchill" speech. (Parkinson BBC1 09/11/74 & BBC Audiobooks (February 5, 1996))
  • An episode of the TV Series Perry Mason, "The Case of the Wary Wildcatter" has a blackmailed/murderous conman/swindler wildcat Oil promoter overselling shares in an oil well. To his shock, the oil well gushes oil!
  • An episode of the TV series Remington Steele, "Springtime for Steele," has two men trying to pull the same scam by promoting a tour of an untalented singer after selling the rights for major profit. But just like in the movie, the scam is undone when the tour is a sellout. Keeping with a running theme in the series, Steele cites the movie as inspiration for the scheme.
  • An episode of the cartoon series Goof Troop, "Pete's Day at the Races" has Pete pulling a scam by overselling stock in a racing horse; unfortunately for Pete, his horse wins.
  • The title of the U2 album Achtung Baby comes from a line in the movie.[25]
  • Season four of Curb Your Enthusiasm revolves around The Producers. Larry David is hired by Mel Brooks as a surefire way of ruining the play and ending its run. Instead, reflecting the actual plotline of the play, David turns it into a huge success.
  • In The Perks of Being a Wallflower, this is Patrick's favorite movie.
  • George Harrison's 1974 album Dark Horse has a photograph in the gatefold sleeve of Harrison and Peter Sellers walking through the Friar Park estate, a speech balloon saying "Well Leo, what say we promenade through the park?", a quote from the film, a favorite of both Sellers and Harrison.
  • On TV Tropes, "Springtime for Hitler" is used to describe a plotline where a character does something that he/she knows could damage his/her reputation.
  • Radio Talk Show Host Stephanie Miller frequently refers to the hope that Attorney Lisa Bloom, a frequent guest of her radio show, will add an attorney with the last name of Bialystock as a partner to her law firm, which would then be known as "Bialystock and Bloom."

See also


  1. 1.0 1.1 1.2 The Producers at the TCM Movie Database
  2. 2.0 2.1 Renata Adler (March 19, 1968). "The Producers (1968)". The New York Times. Retrieved 2011-02-21.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  3. Box Office Information for The Producers. IMDb. Retrieved April 2, 2013.
  4. "The Making of The Producers". The Guardian. Retrieved April 2, 2013
  5. "Big Rental Films of 1968", Variety, January 8, 1969. p. 15. Please note this figure is a rental accruing to distributors.
  6. "Madelyn Cates". IMDb. Retrieved June 24, 2015.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  7. Shute, Nancy (August 12, 2001). "Mel Brooks: His humor brings down Hitler, and the house". U.S. News and World Report. Retrieved 2007-05-04.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  8. 8.0 8.1 8.2 8.3 8.4 The Making of The Producers' on IMDb
  9. Original 1967 The Producers screenplay Archived January 7, 2010 at the Wayback Machine
  10. Richard Alleman (2005). New York: The Movie Lover's Guide: The Ultimate Insider Tour of Movie New York. Broadway Books. ISBN 0-7679-1634-4.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  11. 11.0 11.1 Mark Bourne. "The Producers(1968): Deluxe Edition DVD review". Retrieved 2011-02-21.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  12. "Radio Times". 24–30 November 2001. Cite journal requires |journal= (help)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  13. The Entertainment Weekly Guide to the Greatest Movies Ever Made I. Warner Books. 1996. p. 42.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  14. J. Hoberman (2001-04-15). "When The Nazis Became Nudniks". The New York Times. Retrieved 2007-02-02.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  15. Alex Symons (2006-03-22). "An audience for Mel Brooks's The Producers: the avant-garde of the masses.(Critical essay)". Journal of Popular Film and Television. Archived from the original on 2007-09-30. Retrieved 2007-02-02.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  16. "The Producers (review)". Time. 1968-01-26. Archived from the original on May 24, 2011. Retrieved 2007-02-02.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  17. "Arts & Entertainment (Cinema)". Time. 1968-04-19. Retrieved 2007-02-02.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  18. "Arts & Entertainment (Cinema)". Time. 1968-05-10. Retrieved 2007-02-02.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  19. Variety Staff (1967-12-31). "The Producers (review)". Variety. Retrieved 2007-02-02.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  20. "The Producers (1968) Reviews".<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> RottenTomatoes
  21. Roger Ebert (July 23, 2000). "The Producers (1968)". Chicago Sun-Times. Retrieved 2011-02-21.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  22. "Business Data for The Producers (1968)". IMDb. Retrieved 2007-02-02.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  23. "Business Data for The Producers (Re-issue)". Box Office Mojo. Retrieved 2007-02-02.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  24. J. Hoberman. "What the critics say about The Producers". The New York Times. Retrieved 2009-08-24.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  25. "U2 History FAQ - Everything You Know Is Wrong". Retrieved 2008-04-15.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>

External links