Once upon a time in the golden period of films known as the 1970s, Mel Brooks was, along with Woody Allen, the biggest directing name in comedy. Both had been on the legendary writing staff of Sid Caesar's Your Show of Shows in the '50s (along with Neil Simon and Carl Reiner) and both brought a distinctly Jewish tone to their slapstick. While Allen represented the Manhattan highbrow, Brooks’s style lurked more in the offensively low end Borscht Belt style. By the '80s, when Allen's status raised to the level of genius, Brooks’s comedy had already become passe and completely juvenile, working in the obvious (Spaceballs, Dracula: Dead and Loving It, etc.). But his early string of comedies, from The Producers through High Anxiety, created a lot of laughs, peaking in 1974 with two comic masterpieces: Young Frankenstein and, maybe even better, the bawdy western spoof Blazing Saddles.
The western spoof is almost as old as the western itself—you had Laurel & Hardy in Way Out West, The Marx Brothers in Go West, Mae West and W.C. Fields did My Little Chickadee, and Bob Hope had The Paleface and then Son of Paleface, not to mention Destry Rides Again with Marlene Dietrich (which Blazing Saddles actually directly spoofs). The '60s saw an examining of the western most directly through the Italian spaghetti westerns and American western comedies such as Cat Ballou and Support Your Local Sheriff! In the '70s, the reexamining went to the extreme as the western was turned in on itself and poked at by post-modernists with films as broad as Jodorowsky’s El Topo, Altman&rs...
Everything You Always Wanted To Know About Sex, But Were Afraid To Ask
Like most of Woody Allen's early comedies Everything You Always Wanted To Know About Sex, But Were Afraid To Ask is the definition of "hit or miss." This is a joke a minute film. Some are wonderfully funny but, like Airplane some years later, when you throw a ton of jokes at the wall not all of them are going to stick. Enough do to make this well worth the experience and make it an above average comedy. Released during the sexual liberation and adult sexual reeducation of the early '70s, this is kinda/sorta based on David Reuben's hugely popular manual about human sexuality of the same name. Allen uses the chapter heads to basically create seven short films, spoofing the pseudo seriousness of the subject matter. Some work better than others, but oh boy, the ones that do work are home runs. Here's the rundown starting with the least successful of the seven and moving to the better ones.
Why Do Some Women Have Problems Reaching Orgasms?Continue Reading
Richard Pryor Live On The Sunset Strip
It’s a given that Richard Pryor is one of the most influential stand-up comedians ever (along with Lenny Bruce or George Carlin or Mort Sahl or whoever you want to put on a short list). His feature length performance film, Richard Pryor Live On The Sunset Strip, along with Richard Pryor Live in Concert a few years earlier, are still the benchmarks for stand-up comedy films. Sunset Strip may be slightly stronger because of the incredible autobiographical detail and honesty. He might have been a train wreck in real life, but on stage he was completely self-assured - without being cocky - and utterly honest about his own shortcomings, not to mention his takes on sex and race. Besides being hilarious, this film stand as a documentary about the mind of Richard Pryor and the unique way he interprets the world.
Like Bruce and Carlin, Pryor started off a TV-friendly, joke man who evolved when he found himself, got dangerous, got dirty, and embraced the counterculture. On The Sunset Strip is almost like an autobiographical one-man show; he talks about growing up in a brothel, how going to Africa changes him, working for the mob, but, most revealing, his cocaine abuse. In an almost too honest moment he discusses his famous "blowing himself up" incident. At the same time he still hits some great standards like the differences between men and women and black and white people. He also does his down & out character of Mudbone, for what he claims, thankfully, is the last time.Continue Reading
The train movie has always been a favorite genre of mine (Horror Express, Runaway Train, Narrow Margin, Emperor of the North Pole, etc). Going back to the silents (The Great Train Robbery) the train trip has been used famously as a murder mystery setting (Murder on the Orient Express, The Lady Vanishes), a place for romance (North by Northwest), action (The Cassandra Crossing, Breakheart Pass), comedy (The General), and horror (Terror Train). In 1976 director Arthur Hiller wasn’t exactly sure what genre he wanted - romance, action, comedy. Though sometimes messy, his Silver Streak did mange to breathe some life into the train picture and it ended up being a perfect piece of genre-bending entertainment.
With a screenplay by Colin Higgins, who had written the cult flick Harold and Maude and would go on to write and direct another solid romantic-action-comedy, Foul Play with Chevy Chase, Silver Streak stars Gene Wilder. As one of the era’s most unique comic talents, the role feels very un-Wilder-like. Mater of fact it could have been Chase, Elliott Gould, George Segal, Burt Reynolds or any leading man of the mid '70s. It’s not until just over the half way mark when Richard Pryor enters and infuses the film with a fresh energy, bringing out the more manic Wilder that audiences had grown to love. After getting a co-screenwriting credit on the Wilder flick Blazing Saddles, but nixed as an actor, Silver Streak would mark Pryor and Wilder’s first onscreen comedy together. They would follow it with the sometimes hilarious Stir Crazy and then the mostly terrible Another You and See No Evil, Hear No Evil. But Silver Streak is the film that really best showcases the yin and yang of their different comic styles.Continue Reading
The Seven-Per-Cent Solution
The opening title card of The Seven-Per-Cent Solution reads: “In 1891, Sherlock Holmes was missing and presumed dead for three years. This is the true story of that disappearance. Only the facts are made up.”
This clever welcoming very much sums up the kitschy and revisionist way the story of literature’s greatest detective is treated. One-time dance choreographer turned director Herbert Ross created a near-brand for himself in the '70s with his theatrical adaptations, with films like Funny Lady and Play It Again, Sam, and Neil Simon scripts including The Goodbye Girl, California Suite and The Sunshine Boys. But it is with this adaptation from the popular novel by Nicholas Meyer that Ross really gets to break away from his more stagebound roots, taking advantage of actual European locations and a very exciting cast to tell this tale of Holmes being treated by Sigmund Freud. (Later he would have success going back to his dancy roots with films like The Turning Point and Footloose.)Continue Reading
The great horror spoofs are far and few between. For every Abbott & Costello Meet Frankenstein or Shaun of the Dead (both excellent) there are at least a dozen Scary Movies, Saturday the 14ths or Vampire in Brooklyns, most tend to range from lousy to lame. Young Frankenstein falls in the excellent camp, working as both a laugh out loud comedy and a perfect dissection of the style used by Universal in their famous monster period, directly spoofing both Frankenstein and its sequel, The Bride of Frankenstein. For director Mel Brooks it would mark the apex of his career after The Producers and Blazing Saddles, all three films featuring Gene Wilder who cowrote the Young Frankenstein script with Brooks. Wilder went on to direct his own films and neither Brooks nor Wilder would ever make anything as inspired as the three films they made together. They would even both later direct lousy and lame horror spoofs: Haunted Honeymoon (Wilder... lame) and Dracula: Dead and Loving It (Brooks... lousy). But together, combining both men’s distinct comedy style, they created a film that is easily one of the two or three greatest horror comedies of all time.
American lecturer and doctor, Dr. Frederick Frankenstein (Wilder) can’t live down his famous mad doctor grandfather (Mary Shelley’s Dr. Frankenstein) and is truly embarrassed by his roots. When he inherits the family property in Eastern Europe he leaves behind his icy fiancée, Elizabeth, played by Madeline Kahn, on her own roll of big time performances in the period, including Blazing Saddles and Paper Moon. At the castle, he meets his new hunchbacked manservant, Igor (bug-eyed British comedian Marty Feldman), his sexy young laboratory assistant, Inga (Teri Garr) and the creepy maid, Frau Blucher (Cloris Leachman). After reading his grandfather’s journals, Frederick becomes convinced he can reanimate life and sets about recreating his experiments. Like the original Frankenstein story, he brings a patched together man back to life but the man (Peter Boyle, very crafty casting) is accidentally given an abnormal brain and is a relegated to being a monster.Continue Reading