The Producers

It still boggles the mind to think that the stage version of Mel Brooks’ “The Producers” won more Tony Awards than any other show in history, with not one memorable song, uninspired choreography, primitive jokes, and goofy antics that make one wince with embarrassment. A spoof of the Great White Way, perhaps it was the mere presence of Broadway icons Nathan Lane and Matthew Broderick that buoyed it for so long.

Thus, it is only fitting that they would carry their performances to the big-screen. While the film version of The Producers is a tour de force for Lane, Broderick plays his role the same way he has played every other character he has committed to celluloid: as Matthew Broderick. The movie also stars a sparkling Uma Thurman, Will Ferrell, Jon Lovitz, Roger Bart (who looks like a Star Trek Romulan), and blink-or-you’ll-miss-them appearances by Andrea Martin and Michael McKean.

The story follows a once-successful producer who, along with his accountant, realizes that an intentional flop will net them more money by allowing them to pocket investors’ money -- the chosen script is a Neo-Nazi spectacle entitled “Springtime for Hitler”, which they feel sure is to fail.

The plethora of flaming gay characters has been unsettling to many, but even more so is director Susan Stroman’s decision to have the “straight” characters squeal and mince through their lines. Nearly identical to the stage production, she has added only a cupful of dazzle augmented by varied camera angles. In fact, the presentation is so weak, even the outdoor scenes are clearly shot on interior sets...a live performance may well have been filmed.

Several numbers do play well, including the show-within-a-show’s lavish title number, and The Old Ladies who tap out “Along Came Bialy” with their walkers, but the only real highlight is when the manic Lane sums up the entire story in “Betrayed“.

Overall, The Producers is a plodding mess with little energy or charm. Rating: 3 out of 10.