The Producers

2005
6
2 Std. 14 Min.

IMDb-BEWERTUNG

6,3/10

45.404

IHRE BEWERTUNG

Matthew Broderick, Uma Thurman, and Nathan Lane in The Producers (2005)

trailer wiedergeben2:32

4 Videos

78 Fotos

Buddy Comedy Pop Musical Satire Slapstick Comedy Crime Musical

Nach einem weiteren Flop am Broadway schließt sich der vom Glück verlassene Produzent Max Bialystock mit dem schüchternen Buchhalter Leo Bloom zusammen. Sie entwickeln einen Plan, mit dem sc... Alles lesenNach einem weiteren Flop am Broadway schließt sich der vom Glück verlassene Produzent Max Bialystock mit dem schüchternen Buchhalter Leo Bloom zusammen. Sie entwickeln einen Plan, mit dem schlechtesten Stück der Welt schnell an Geld zu kommen.Nach einem weiteren Flop am Broadway schließt sich der vom Glück verlassene Produzent Max Bialystock mit dem schüchternen Buchhalter Leo Bloom zusammen. Sie entwickeln einen Plan, mit dem schlechtesten Stück der Welt schnell an Geld zu kommen.

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

6,3/10

45.404

IHRE BEWERTUNG

Siehe Produktionsinformationen bei IMDbPro

Auszeichnungen
- 1 Gewinn & 17 Nominierungen insgesamt

Wissenswertes
After Max (Nathan Lane) and Leo (Matthew Broderick) do Der Guten Tag Hop Clop with Franz (Will Ferrell), Max tries to pull open the door. When it doesn't open, he shouts, "We're trapped!" This is an inside joke from the play's run in England. One night, a stage hand had locked the door. When Nathan Lane tried it, he realized it was locked and shouted out, "We're trapped! Trapped like rats with a crazy Nazi!" A stage hand then went up and unlocked the door and they got out.

Patzer
The older male dancer who says "Don't be stupid, be a schmarty..." is speaking with Mel Brooks' voice on his first appearance. The next time he is heard delivering a line, he has a completely different, deep voice. However, this is deliberate: the character also lip syncs to Mel Brooks' recorded voice in the stage production.

Zitate
Leo Bloom: Let's assume for a moment, that you are a dishonest man.
Max Bialystock: Assume away.

Crazy Credits
For the closing credits, Will Ferrell (in the character of Franz Liebkind) recorded "The Hop-Clop Goes On" - a slower version of "Der Guten Tag Hop-Clop" that parodies "My Heart Will Go On" from "Titanic" right down to the cheesy instrumentals. At the end of the song, Franz whispers to the audience: "Don't forget to purchase 'Mein Kampf' in paperback. You can find it at Borders... or Barnes and Noble...und Amazon.com"

Verbindungen
Featured in HBO First Look: The Producers (2005)

Soundtracks
There's Nothing Like a Show on Broadway
Music and Lyrics by Mel Brooks
Performed by Nathan Lane and Matthew Broderick

Benutzerrezensionen442

Rezension

Ausgewählte Rezension

7/10

Spring comes again for Hitler

A little more music and embellishing of several plot points that were passed over in the original film are what distinguishes this musical version of The Producers. It's a musical version about a film that had a plot about two men who try to create the biggest flop in the history of Broadway and a musical.

Taking the places of Zero Mostel and Gene Wilder as the producing partners Bialystock&Bloom are Nathan Lane and Matthew Broderick. Both these guys are given an impossible task of repeating two classically congruent performances that Mostel and Wilder created. Even the additional bits of business just can't make me forget the original.

Will Ferrall did not come over from Broadway to do the role of the hermit like Nazi living in Greenwich Village and caring for his carrier pigeons. He had to do double duty because he also took the place of beatnik method actor Dick Shawn from the original. I'm not sure that combining the roles was the best thing, I'm also not sure Ferrall did real justice to either try as he might on both. Kenneth Mars was the reclusive Nazi author of Springtime For Hitler. in the original. Both he and Shawn were almost as memorable as Mostel and Wilder.

I do love the Mel Brooks humor, but I think he laid it on a bit thick with the gay stereotyping of Gary Beach and Roger Bart. It came this close to the good side of being offensive, but not quite.

There's a lot to like in this version of The Producers, but I think Mel should not have touched his masterpiece.