Mel Brooks: Search and Destroy

"What a show!"

"You better change your point of views todaaaay!"

The Twelve Chairs is not as funny as I remember. DeLuise and Brooks, in small parts, get nearly all the big yuks, not Ron Moody and Frank Langella.

"I hate people I don't like."

receiving Kennedy Center Honors this year, along with Springsteen and de Niro. I guess the president will be hearing a Blazing Saddles joke from Mel.

http://artsbeat.blogs.nytimes.com/2009/09/09/kennedy-center-will-honor-springsteen-deniro-brubeck-mel-brooks-and-grace-bumbry/?hp

“The Boss” and an actor who found early acclaim playing a mob boss are two of the five 2009 Kennedy Center honorees.

weird way to describe deniro.

is it? Vito Corleone was his breakthrough; Mean Streets was a small release.

anyway, I hope Carl Reiner appears at this, now that they are both 2000-year-old men.

tom carson on the pernicious influence of robert deniro:

http://men.style.com/gq/features/full?id=content_6737

by the way i saw the Producers in london, with nathan lane and lee evans, and witnessed one of the most amazing moments i've ever seen at the theatre - completely unplanned - although i don't quite have the time at this exact moment to properly recount it

you have before! the hat toss thing, yeah?

also, on the OTHER Mel Brooks thread, you mistakenly credited Mel w/ The Adventures of Sherlock Holmes' Smarter Brother.

I saw part of The Muppet Movie in a bar the other night, and forgot about Mel's funny mad-scientist extended cameo. "In two minutes, he won't know you from kosher bacon!"

https://www.youtube.com/watch?v=otPkk1sUFkI

ha, I can quote that w/out watching... "Dat looks like sumtin, dere."

That Tom Carson link is a goldmine: Is this the best link to keep up with his work?
http://men.style.com/search/results?cx=010858178366868418930%3A1uyj_dfm52w&cof=FORID%3A9&q=%22Tom+Carson%22#931

<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/aDGQgSGHGZ0&hl=en&fs=1&";></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/aDGQgSGHGZ0&hl=en&fs=1&"; type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>

I am still waiting for Jews in Space

http://images2.wikia.nocookie.net/starwars/images/0/06/MelBrooksJewsInSpace.JPG

dude is woody allen w/t the film crit wankery and bergman/fellini/artfilm mugging. and his funniest stuff is funnier than woody allen's funniest stuff.

and his worst is way less funny

saw part of The Muppet Movie in a bar the other night, and forgot about Mel's funny mad-scientist extended cameo. "In two minutes, he won't know you from kosher bacon!"

― A Patch on Blazing Saddles (Dr Morbius), Friday, September 11, 2009 10:54 AM (1 year ago)

the last few Woody Allen movies were pretty damn dreadful (esp. the one with Larry David), at least the equal in awfulness to an awful Mel Brooks joint.

well, I haven't seen anything of Brooks' since Spaceballs (ugh), and have skipped plenty of Woody's lately. Mel peaked, filmwise, in 1974. Allen had a little more staying power.

Not sure this has ever been posted, from 1970... other panelists include George Segal and comedian/future TV director David Steinberg. This used to be rerun annually into the '80s on Susskind's show.

http://www.jewishjournal.com/video/article/video_the_david_susskind_show_1970_how_to_be_a_jewish_son_20081202/

Interview promoting new 4-DVD set of TV appearances, effluvia, The Mel Few People Have Seen:

http://www.salon.com/2012/11/14/mel_brooks_the_only_weapon_ive_got_is_comedy/

what a bro

http://www.avclub.com/articles/mel-brooks-on-how-to-play-hitler-and-how-he-almost,89843/

AVC: A lot of comedians nowadays are very open about their past, and discuss some darkness that drew them to comedy. For some, comedy comes from a place of insecurity and anxiety, very heavy stuff. What’s your take on that? What was there at the very beginning that drove you to comedy? Was it dark?

MB: That’s a good question, about what was the determining factor. What ignited the rocket that sent you up into the vast regions of comedy, and why? I would say, for me, that philosophical treatise about having black beginnings and wanting love to compensate for that, wanting audiences and wanting attention—I say, “Au contraire.” Completely opposite. I want the continuation of my mother’s incredible love and attention to me. I was the baby boy. There were four boys. I was 2 years old when my father died, and my mother had to raise four boys. She must be in heaven, because in those days you washed clothes, you washed diapers. There was no income, and she had to take in home work. My Aunt Sadie brought her work that made these bathing suits and stuff, and ladies’ dresses. And my mother would sometimes do bathing-suit sashes all night. She got $5 or $6, and it was a lot. She could feed us, you know? But certainly she’d feed four boys for that day. It was amazing. But she loved me a lot. I don’t think I learned to walk until I was 5, because she always held me. [Laughs.] She’d say, “You can do anything, good or bad. You’re the best kid.” So I say, “Au contraire.” I think my surge forward into show business and getting audiences to love me was to continue gathering that affection and that love. It’s the opposite of a dark place. I came from a lovely, sunny place. Even though we were poor, you don’t know it. When you’re a kid, you don’t know it. I love franks and beans. I wouldn’t have eaten anything else! I didn’t know that was poor people’s food. [Laughs.] I didn’t know there was such a thing as steak. I knew there were French fries. There was chicken. Things were good.

My mother used to make [lunch for me] when I played with the kids in the street. She’d slice a Kaiser roll and fill it with tomatoes and butter on both sides, salt and pepper. And she’d put it in a brown paper bag and throw it down, and I’d catch it. I’d sit on the curb with Benny and Lenny and whoever, I had my lunch, and I loved it. It couldn’t have been anything better. Except one day I missed. And the brown paper bag, which held the Kaiser roll with all the tomatoes, the sliced tomatoes, and butter, and salt and pepper, smashed on the sidewalk. [Laughs.] So I just carefully peeled it away, peeled the brown paper bag away from it, and held it, and ate it. I began crying, because it was the best thing I had ever eaten in my life. The butter and the tomato had penetrated every crevice of that Kaiser roll. To this day, there will be nothing better.

I never realized we were poor, even though we really were. It was like the last apartment on the fifth floor. We had a family meeting once. I think I was, let’s see I’m trying to figure out. I was about 5, so it was 1931. We were sitting in the kitchen. The kitchen was everything. My mother had her bedroom, and there were four boys sleeping in one big bed. My brother had his own cot, so there were three and one. And my mother said, “I want to see the world.” I was 5. I thought, maybe she wanted to travel? I didn’t understand. None of us understood what she meant. She said, “All I see are cats. I see wet wash hanging on lines, and I see cats. I don’t want to see trees. I don’t want to live in the yards. I want to see the world. The apartment opposite us is open. We pay $16 a month. It’s $18 a month, and it’s on the street, where I can see the world. I can see into the courses and carts of people, whatever.” Whatever was on the street she could see, which was real action. And my brother Irving said—it was like a Clifford Odets play—“By God, we can do it.” So I ran for telephone calls, being only 5. I would call Mrs. Bloom to the phone. And Lenny would go to Sadie’s plant and work extra hours. Irving quit school and went to night school, and in the day he worked at one of mother’s garment-center places. And we all managed to bring in something so that my mother could move—all of us could move—to the front. And there was actually another little alcove, so we had more sleeping room. It was a wonderful story.

When I was very young and working for Sid Caesar; I was only 22 or 23. I called my other my brothers. I said, “I don’t want to tell mom what I’m making. She might have a heart attack and die. But I’m making over $150 a week.” Normal salary then was $57, $58 a week. I said, “So you guys, you’re off the hook.” They were still contributing to my mother’s household. I said, “Forget it. I got it. I’ll take care of it. Things are good.” That was a great day. I was making $50 a week with Sid for the first two years I worked for him. Then when the show went into a second season, I was given billing—“additional dialogue by Melvin Brooks,” or something—and $150 a week. So it’s a great story.

And later, my mother said, “Sadie and I want to live in Florida.” I said, “Okay.” [Laughs.] So they moved; this is true. They moved down to Florida. I was well-known then, you know? I became Mel Brooks. So they moved to Florida. I said, “Tell me about the apartment.” She said, “We’re living in a building, in a beautiful building, and I’ve got all of your awards on the television set. And once a week, I have the neighbors and friends come through and see them.” [Laughs.] Like a showing of my Oscar or whatever I had. An Emmy or this or that. And all my awards.

She’d slice a Kaiser roll and fill it with tomatoes and butter on both sides, salt and pepper. And she’d put it in a brown paper bag and throw it down, and I’d catch it. I’d sit on the curb with Benny and Lenny and whoever, I had my lunch, and I loved it. It couldn’t have been anything better. Except one day I missed. And the brown paper bag, which held the Kaiser roll with all the tomatoes, the sliced tomatoes, and butter, and salt and pepper, smashed on the sidewalk. [Laughs.] So I just carefully peeled it away, peeled the brown paper bag away from it, and held it, and ate it. I began crying, because it was the best thing I had ever eaten in my life. The butter and the tomato had penetrated every crevice of that Kaiser roll. To this day, there will be nothing better.

damn now i wanna try this

Mel Brooks Blu-ray collection only $23.99 at Amazon.com today. Except for that last one that's a pretty unbroken string of greatness:

Disc 1: The Twelve Chairs
Disc 2: Blazing Saddles
Disc 3: Young Frankenstein
Disc 4: Silent Movie
Disc 5: High Anxiety
Disc 6: History of the World - Part 1
Disc 7: To Be or Not to Be
Disc 8: Spaceballs
Disc 9: Robin Hood: Men in Tights

-7 Featurettes Plus 6 Blu-ray Exclusive Featurettes
-4 Trivia Tracks
-5 Isolated Score Tracks
-Commentaries, Interviews, Documentaries, Still Gallaries and more on selected films

Except for those last six

(and the first one)

Have never seen the last three.

You don't like The Twelve Chairs, Morbz? I haven't seen it in many years, is it not as good as I recall? ISTR Langella and Moody being great in it.

Not liking High Anxiety, though, that's just . . . idgi.

The Twelve Chairs has maybe Brooks' funniest line, or at least it seems that way in the delivery: "I hate people I don't like."

I saw High Anxiety when I was 8 or so and before I had ever seen a Hitchcock movie. That same year I saw the Gibbs/Frampton Sgt. Pepper's Lonely Hearts Club Band before hearing much of The Beatles. So Hitchcock and The Beatles seemed like cover versions.

Not liking High Anxiety, though, that's just . . . idgi.

igi, igi, idgi

I rewatched 12 Chairs a couple years ago; the first 20 minutes and Dom DeLuise hold up nicely, then it runs out of gas.

The problem w/ High Anxiety is that a good Hitchcock film is funnier; the deftest parody is Mel's of Frank Sinatra (God, I bet I've posted this at least 5x before)...

Except for those last six

― ballin' from Maine to Mexico (Dr Morbius), Wednesday, June 5, 2013 10:34 AM (29 minutes ago) Bookmark Flag Post Permalink

You didn't like History? That's nuts! N-V-T-S nuts!

A bit too Carry On/ Up Pompeii for my liking

Saved by the Spanish Inquisition musical number and getting "It's good to be the king!" into the language, though.

hugest hahahahahhahahaas at the post-plane photo montage in High Anxiety

Anyone seen the recent American Masters doc? He's a great interview subject, though the film does end up feel somewhat lacking through no fault of its own for how (relatively) few of his collaborators are left alive to contribute (Gene Wilder doesn't either, but he speaks in quite a bit of archival footage). Still, the fact that I haven't seen most of his films in years caused me to laugh out loud a lot during the bulk of the clips (totally forgot about Bea Arthur's "you're a bullshit artist!" in History of the World, Part 1) and its loaded with great anecdotes. How did I never know about Brooks helping get The Elephant Man made?!

great stuff here (Pt 3 seems unavailable)

https://www.youtube.com/watch?v=kRbatJ3U2Yo

Mel's production company made The Elephant Man

why didn't he do more of that instead of all the post-High Anxiety shit comedies?

80 minutes

http://www.vulture.com/2013/10/see-mel-brooks-tell-conan-how-hed-like-to-die.html

his Comedians In Cars.. was one of the best ones. well it was Reiner's but he was in it. i was astonished he and Seinfeld had never met for some reason.

It was so sweet, wasn't it?

Slowly making my way through the box set. The recent chat with Cavett is probably the highlight, so so very hilarious.

Watched "Robin Hood: Men in Tights" for the first time the other day since I saw it in a theater when it came out. It was pretty bad. Sometimes it felt like there were 10 minute stretches between jokes. At one point they have a blind man falling and injuring himself AND THAT IS THE JOKE! He's blind! Pretty cruel.

Still, the song is funny (not the embarrassing rap that opens the movie, the title song) and the casting was totally brilliant (Cary Elwes! David Chapelle! Isaac Hayes! Richard Lewis!) but where are the jokes?

I had a similar experience with Silent Movie last night. I remembered liking it when it came out, I even swiped a lobby card (I had a crush on Bernadette Peters.) But I tried watching last night and I couldn't even make it to her appearance. So slow, and the sight gags (such as they are) are so bad: a pregnant woman gets in the back of his car and the front wheels tip up. A Schezhuan restaurant with patrons breathing smoke. Seemingly endless, noisy slapstick with the three leads in clanking suits of armor...

i saw a few minutes again on TCM in December, and i laffed at the Szechuan gag.

as Mel has said, thgese films were meant to be watched in a theater, like all broad comedies. (silent esp)

(i will not argue that MB's filmic peak was long tho. The Producers thru Young Frkstein.)

Can we all agree that The Producers is pure genius? Because carping and caviling at it would only reveal an unbecoming pettiness in the carper.