{"id":742,"date":"2016-07-14T15:10:43","date_gmt":"2016-07-14T15:10:43","guid":{"rendered":"http:\/\/mgs.performerstuff.com\/?p=742"},"modified":"2018-08-07T02:50:13","modified_gmt":"2018-08-07T02:50:13","slug":"theatre-in-film-series-the-producers-1968","status":"publish","type":"post","link":"https:\/\/performerstuff.com\/mgs\/theatre-in-film-series-the-producers-1968\/","title":{"rendered":"Theatre in Film Series: The Producers (1967)"},"content":{"rendered":"<div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-header-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h3 style=\"text-align: left;\">Theatre in Film Series: <em>The Producers<\/em> (1967)<\/h3>\n<font size=\"2\" color=\"grey\"><span style=\"border:1px solid ;-webkit-border-radius:50%;-moz-border-radius:50%;border-radius:50%;-moz-box-shadow: 0 0 3px rgba(0,0,0,.3);-webkit-box-shadow: 0 0 3px rgba(0,0,0,.3);box-shadow: 0 0 3px rgba(0,0,0,.3);margin-right:25px;float:left;\" class=\"fusion-imageframe imageframe-glow imageframe-1 hover-type-none author-image\"><a class=\"fusion-no-lightbox\" href=\"http:\/\/performerstuff.com\" target=\"_self\"> <img src=\"http:\/\/performerstuff.com\/mgs\/wp-content\/uploads\/2016\/06\/authorimage.jpg\" alt=\"\" class=\"img-responsive\" style=\"-webkit-border-radius:50%;-moz-border-radius:50%;border-radius:50%;\"\/><\/a><\/span><p>Written by Ashleigh Gardner<\/p>\n<p>July 13, 2016<\/p>\n<\/font><div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><p style=\"text-align: left;\">Though theatre was my first love, film has stolen my heart in recent years. In Part II of our ongoing Theatre in Film series, we explore the latter years of Classical Hollywood Cinema when Technicolor was new and movie musicals, filled with rich color and vibrant acting, lifted off the screen. For our\u00a0third\u00a0film in Part II, we celebrate\u00a0<em>The Producers<\/em>\u00a0from 1968.<\/p>\n<p style=\"text-align: left;\">The video below carries the &#8217;68 date, but the film was officially released in November of &#8217;67. The premiere was a failure, and it was banned in Germany.\u00a0<em>The Producers\u00a0<\/em>was therefore\u00a0not distributed until later &#8212; in March 1968. For reference, I refer to this film with it&#8217;s original release date &#8212; &#8217;67.<\/p>\n<h4 style=\"text-align: left;\"><em>The Producers<\/em> (1967)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/pTW2ZSjG5N0?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p><span style=\"font-weight: 400;\"><strong>Director:<\/strong> Mel Brooks<br \/>\n<\/span><span style=\"font-weight: 400;\"><strong>Starring:<\/strong> Zero Mostel, Gene Wilder, Kenneth Mars, Dick Shawn, and Lee Meredith<\/span><\/p>\n<h4 style=\"text-align: left;\">What happens:<\/h4>\n<br><p style=\"text-align: left;\"><span style=\"font-weight: 400;\">Max Bialystock (Zero Mostel) is a failure of a Broadway producer, and the only way he gets his money is by seducing older women, promising them that their money is going to the next big hit. When accountant Leopold \u201cLeo\u201d Bloom (Gene WIlder) arrives at Max\u2019s apartment to do his taxes, Leo mentions that a person could make a lot of money by producing a Broadway flop. If the producers oversold all the shares (promised 100% of the profits to each investor), they would <\/span><i><span style=\"font-weight: 400;\">make <\/span><\/i><span style=\"font-weight: 400;\">money if the show closed on the same night it opened. They set a plan in motion to find the worst script they can, and they settle on the musical <\/span><i><span style=\"font-weight: 400;\">Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden<\/span><\/i><span style=\"font-weight: 400;\"> by Franz Liebkind (Kenneth Mars), a Hitler sympathizer who has immigrated to America. They hold auditions to find the perfect Hitler, and their production makes its way onto its feet. Max and Leo expect their first audience to be their last, so offended by the play that they would call for its closure. However, the opening night is an unexpected farcical success, and the two producers blow up the theatre in a last ditch effort to save their skins. Unfortunately for them, they are injured, caught, put on trial, and found guilty. They are both sent to prison, where they continue producing small prison musicals and overselling the share of profits.<\/span><\/p>\n<h4 style=\"text-align: left;\">Why it matters:<\/h4>\n<br><p style=\"text-align: left;\"><span style=\"font-weight: 400;\">Brooks would later make this film into a stage musical in 2001 and a film adaptation of the stage musical in 2005. <\/span><i><span style=\"font-weight: 400;\">The Producers <\/span><\/i><span style=\"font-weight: 400;\">from 1967 isn\u2019t a musical, but it\u2019s a hysterical film that captures the realism of how difficult it is to fund theatrical productions <\/span><i><span style=\"font-weight: 400;\">and <\/span><\/i><span style=\"font-weight: 400;\">pay the bills at the same time. Max is in debt, and because he needs to use his money to pay his rent, he can\u2019t use money to produce a show, even though a show may bring him money to pay his rent. He\u2019s in an endless cycle of being absolutely broke, and he exploits the interest of older women for his own gain because, well, it\u2019s the only option he\u2019s got (or he thinks he\u2019s got).<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-weight: 400;\">Despite the con of Max and Leo, other elements of the film are greatly influenced by the oftentimes ridiculous nature of theatre. The audition process for finding the ideal Hitler mimics awkward casting calls many of us in theatre have been to. <\/span><i><span style=\"font-weight: 400;\">The Producers <\/span><\/i><span style=\"font-weight: 400;\">reminds us of when we sit through people singing opera when a ballad is asked for, when directors have to deal with performers who are so outlandish that they are perfect for the role, and when we meet \u00a0unconventional but enchanting people in the world of theatre, like Roger De Bris\u00a0(Christopher Hewett),\u00a0the cross-dressing man who Max and Leo hire to direct <\/span><i><span style=\"font-weight: 400;\">Springtime for Hitler.<\/span><\/i><\/p>\n<p style=\"text-align: left;\"><i><span style=\"font-weight: 400;\">The Producers <\/span><\/i><span style=\"font-weight: 400;\">also garners cultural value, as it was shot and released in a time when the mention of Adolf Hitler was taboo. World War II had recently ended in 1945. When Brooks first approached studios and independent filmmakers about the opportunity to back the film, then called <\/span><i><span style=\"font-weight: 400;\">Springtime for Hitler<\/span><\/i><span style=\"font-weight: 400;\">, he was rejected. The film was eventually picked up by Sidney Glazier with the stipulation that the movie be renamed to <\/span><i><span style=\"font-weight: 400;\">The Producers. <\/span><\/i><span style=\"font-weight: 400;\">Brooks follows in the footsteps of Charlie Chaplin and Ernst Lubitsch who directed <\/span><i><span style=\"font-weight: 400;\">The Great Dictator <\/span><\/i><span style=\"font-weight: 400;\">(1940) and <\/span><i><span style=\"font-weight: 400;\">To Be or Not to Be <\/span><\/i><span style=\"font-weight: 400;\">(1942), respectively. Both films mock Hitler during a time that was very immediate to the war with Nazi Germany. Chaplin, Lubitsch, and Brooks use humor, film, and theatre to let audiences know that it\u2019s okay to laugh at people in power, especially those who abuse their authority. <\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-weight: 400;\">Below are the trailers for Chaplin\u2019s <\/span><i><span style=\"font-weight: 400;\">The Great Dictator <\/span><\/i><span style=\"font-weight: 400;\">(1940) and Lubitsch\u2019s <\/span><i><span style=\"font-weight: 400;\">To Be or Not to Be <\/span><\/i><span style=\"font-weight: 400;\">(1942).<\/span><\/p>\n<h4 style=\"text-align: left;\">The Great Dictator (1940)<\/h4>\n<br><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/4sfJxdytYn4?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><h4 style=\"text-align: left;\">To Be or Not to Be (1942)<\/h4>\n<br><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/7W_B10VbYjI?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><br><br><p style=\"text-align: left;\"><span style=\"font-weight: 400;\">This film is the first featured in Part II of \u201cTheatre in Film\u201d. See below for the others in Part II.<\/span><\/p>\n<ul style=\"text-align: left;\">\n<li style=\"font-weight: 400;\"><a href=\"http:\/\/performerstuff.com\/mgs\/?p=641\"><span style=\"text-decoration: underline;\"><strong><em>The Band Wagon<\/em><\/strong> <strong>(1953)<\/strong><\/span><\/a><\/li>\n<li style=\"font-weight: 400;\"><a href=\"http:\/\/performerstuff.com\/mgs\/theatre-in-film-the-good-companions-1957\/\"><span style=\"text-decoration: underline;\"><strong><em>The Good Companions<\/em>\u00a0(1957)<\/strong><\/span><\/a><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\"><strong><em>The Boy Friend<\/em>\u00a0(1971)<\/strong>\u00a0<em>(Coming soon.)<\/em><\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\"><strong><em>Opening Night<\/em>\u00a0(1977)<\/strong>\u00a0<em>(Coming soon.)<\/em><\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left;\">Want to start with Part I? Check out\u00a0<strong><em><a href=\"http:\/\/performerstuff.com\/mgs\/?p=133\"><span style=\"text-decoration: underline;\">42nd Street\u00a0<\/span><\/a><\/em><span style=\"text-decoration: underline;\">(1933)<\/span><\/strong>.<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><hr \/>\n<h5 style=\"text-align: left;\"><em><strong>Ashleigh Gardner<\/strong>\u00a0received her AA in Theatre\/Drama\/Dramatic Arts\u00a0from Valencia College and\u00a0her Bachelors Degree in English Literature and\u00a0Masters Degree in Literary, Cultural, and Textual Studies from\u00a0the University of Central Florida. She is a playwright, an actor, and PerformerStuff.com\u2019s Editor.\u00a0<\/em><\/h5>\n<h5>Thumbnail\u00a0image from\u00a0<em>The Producers<\/em>. Copyright \u00a9 1967 Embassy Pictures.<\/h5>\n\n","protected":false},"excerpt":{"rendered":" [...]","protected":false},"author":2,"featured_media":743,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[259,260,265],"tags":[6,106,352,319,107,363,82,364,80,362,14,105],"_links":{"self":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts\/742"}],"collection":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/comments?post=742"}],"version-history":[{"count":0,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts\/742\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/media\/743"}],"wp:attachment":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/media?parent=742"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/categories?post=742"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/tags?post=742"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}