The film Text copyright Filmverdict 2006-2007. Any film stills are copyright of their respective owners. Used without permission, sorry!
The Producers
(2005)
Reviewer: Joel
Version: Standard Edition
Number of discs: 1
The musical genre is my least favourite and probably least watched area of the motion picture world. This coupled with the fact that modernised re-hashes of old classics always put me off, did not bode well when I sat down and watched Susan Stroman's effort at updating Mel Brooks' musical. Nathan Lane, as failed Broadway producer Max Bialystock, performs excellently throughout the marathon, showcasing the talents he has perfected during the stage version, delivering the hit or miss jokes and songs with superb gusto and timing to try and save the film. Matthew Broderick has great chemistry with Lane, but I always felt he could kick up through the gears to create a Ferris Bueller charm-equalling performance. This never occurs however, possibly because he was concentrating too much on the singing and dancing aspect of the film. His interaction with the blue rag he has a fetish with is well done though, as he contributes soundly to a good first hour.
Uma Thurman and Will Ferrell make up a very strong ensemble, but after the former's introduction in the 54th minute, the script just doesn't hold up with the quality of acting. Thurman's martial arts training from Kill Bill has obviously helped her with learning the dance routines (as Stroman notes in her commentary), and Ferrell even has time to reference his Austin Powers character with the "I think I've broken my leg" exclamation. These are the only real highlights though after the novelty of Lane and Broderick's characters have worn off. Thurman is an inspiration and as gorgeous as ever, and that 'funny guy from SNL' is still Will Ferrell, even with his dire singing.
The storyline and the director ruin the film though. The film hasn't really changed at all from the stage version and Stroman does indeed act as a theatre director. She always places the camera from the audience perspective and never dares to venture into experimenting with angles when the dance sequences arrive.
The extras
For a Standard Edition, the disc delivers. Deleted scenes, outtakes, a short featurette, trailers and a commentary with Stroman are all good. More information from the 1968 film and the Broadway musical would have been welcomed however.
The summary
This film does nothing to improve the genre's standing in my mind. At the end of two hours of a film with very little substance, I would rather go and experience the innuendo of a Carry On film. At least then I wouldn't have to put up with songs as dismal as this.
