VERSUS THE SCARECROW EPISODE EIGHT: Jason Takes Manhattan. I decided to challenge myself and really open the doors of my film knowledge and take on “The Scarecrow Video Movie Guide”. It’s 808 pages of movies and movie reviews from some of the most knowledgeable movie people you don’t know. It’s a book put together by a staff that praises, and destroys, some of our favorites and not so favorites. You can read the rest of my series here.
Just a quick refresher: each episode, I’m going to tackle three films from three different categories. Two films will be films I’ve never seen before and one will be one I’ve seen before or own. For the new films, well, new to me, I’m going to review them like a typical FTS review using the TOAST Rating system. But, for the films I’ve seen, I’m going give a quick paragraph or two about why I like or don’t like the film. We’ll try to include the poster and trailer for each film. “….and here. We. Go!”
So my name isn’t Jason, and none of the films this episode are horror (surprised?), but on this episode of Versus the Scarecrow I’m taking a look at three films that take place in New York City, primarily, Manhattan. I’ll be reviewing The Producers (1968), Midnight Cowboy ( 1969) and I’ll be reflecting upon one of my favorite films, American Psycho (2000). Enjoy!
The Producers (1968) Directed by Mel Brooks. Starring: Zero Mostel, Gene Wilder and Dick Shawn. IMDB says: “Producers Max Bialystock and Leo Bloom make money by producing a sure-fire flop.”
I’ve seen a lot of Mel Brooks movies, but surprisingly, this isn’t one of them. As a musical, the film is fantastic, but as a movie, I found it a bit lacking. It’s the story of Max Bialystock (Zero Mostel), a run down producer who hasn’t had a hit in ages. He scamps by on money loaned to him by little old ladies. When his books are audited by accountant Leo Bloom (Gene Wilder) the two become an unlikely pair after discovering they can make more money with a Broadway flop than a smash. Their quest begins to put on the worst musical ever and along the way they meet many humorous and colorful characters.
As many characters as we meet, I feel that the film doesn’t delve deep enough into Max or Leo’s characters. The whole film, no matter who the character really, gives you enough information to know who the characters are and what they’re doing. Gene Wilder gives a fantastic performance (then again I’m a sucker for anything he does) as well as the rest of the cast, but it’s that lack of development that keeps us from forming any type of relationship with them.
For a film that’s over 40 years old, it holds up well. The film comes off as a bit of a period piece rather than something filmed in the 60s, which was nice. And of course, the music was just great. Mel Brooks has proved time and time again in his films that his musical numbers are a perfect combination of song, dance, and wit. The musical numbers were definitely the highlight of a film who’s plot is based on musicals and Broadway, I just wish this much attention was paid to the characters.
It’s a fun movie to watch if you’re in the mood for a laugh or on a Mel Brooks kick. If you haven’t seen it already, you can find it on Netflix Instant.
Check back tomorrow for my review of Midnight Cowboy and then again on Wednesday for the conclusion of episode eight with my reflection on American Psycho . And if you’re interested in more, you can find the rest of the Versus The Scarecrow series here.