Failed Broadway producer Max (Zero Mostel) and timid accountant Leo (Gene Wilder) come up with a foolproof plan to make a fortune, by staging a musical which is guaranteed to flop and close after one night. A mad Nazi seems to have the perfect raw material - a tribute to the Führer entitled 'Springtime for Hitler'. However, the show is taken for a comedy classic, and becomes an overnight success. The two schemers, faced with financial ruin, determine to blow up the theatre in which the show is taking place. Mel Brooks won a Best Screenplay Oscar for the film, which also marked his directorial debut.
Mel Brooks' directorial debut remains both a career high point and a classic show-business farce. Hinging on a crafty plot premise, which in turn unleashes a joyously insane onstage spoof, The Producers
is powered by a clutch of over-the-top performances, capped by the odd couple pairing of the late Zero Mostel and Gene Wilder, making his screen debut.
Mostel is Max Bialystock, a gone-to-seed Broadway producer who spends his days wheedling cheques from his "investors", elderly women for whom Bialystock is only too willing to provide company. When wide-eyed auditor Leo Bloom (Wilder) comes to check the books, he unwittingly inspires the wild-eyed Max to hatch a sure-fire plan: sell 25,000 per cent of his next show, produce a deliberate flop, then abscond with the proceeds. Unfortunately for the producers (but fortunately for us), their candidate for failure is Springtime for Hitler, a Brooksian conceit that envisions what Goebbels might have accomplished with a little help from Busby Berkeley.
Truly startling during its original 1968 release, The Producers does show signs of age in some peripheral scenes that make merry at the expense of gays and women. But the show's nifty cast (notably including the late Dick Shawn as LSD, the space cadet that snags the musical's title role, and Kenneth Mars as the helmeted playwright) clicks throughout, and the sight of Mostel fleecing his marks is irresistibly funny. Add Wilder's literally hysterical Bloom, and it's easy to understand the film's exalted status among late-60s comedies. --Sam Sutherland, Amazon.com