The Producers (2005)

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Searching for the ultimate bad play, Max and Leo discover “the mother lode,” a musical entitled Springtime for Hitler—A Gay Romp with Adolf and Eva in Berchesgarten. They decide to pay the playwright, Franz Liebkind (Will Ferrell), a visit on his Greenwich Village

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Related Movies: remake of Producers, The (1968) version of Producers, The (1968)

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External Reviews

Most of The Producers wallows in dated jokes that have lost their capacity to make a movie audience laugh out loud. Occasional chuckles are about the best they can do. Then there are the songs, which are easily some of the most forgettable musical numbers from any production in recent years. Leaving the theater, the only one I could remember was "Springtime for Hitler," and that's because it was in the original movie. 

I have never been a fan of stage plays and feel pretty much the same about their conversion to the screen. But, since I adore the original of “The Producers,” I gave this remake of a remake a shot. The sometimes-amusing tunes have a bit of charm but the two-plus hour runtime make this a bloated re-imagining of the tight and much funnier 88-minute original. B-,B-

--Robin and Laura Clifford

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However, this version is a superior bit of silliness that has nothing more on its mind than providing viewers with two hours of shameless entertainment and to that extent, it succeeds enormously. Oh, one last thing–you should definitely stay through all of the end credits for an especially happy final surprise. 

--Peter Sobczynski (eFilmCritic.com)

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The Producers is a fun movie experience, with enough Mel Brooks humor to keep it entertaining. And I strongly recommend that you stick around past the ending credits, as there is a special surprise that you’ll want to see. 

--Michael Sheridan (Tailslate.net)

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The movie does get points for humorously wallowing in the bombast of these kinds of big stage productions -- it's as if it personally wants to deliver that special brand of overcooked Broadway glare and glitz straight to you, the movie viewer. It's the kind of screwy indulgence only Brooks could spotlight, and it did occur to me, as I watched it, how much absurd voices like his are missed in today's movies. 7/10

--Jeffrey Chen (WindowToMovies.com)

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Cast

Nathan Lane The Lion King, The Birdcage, Titan A.E. Matthew Broderick Ferris Bueller's Day Off, The Lion King, Godzilla Uma Thurman Pulp Fiction, Kill Bill: Vol. 1, Kill Bill: Vol. 2 Will Ferrell Austin Powers: International Man of Mystery, Jay and Silent Bob Strike Back, Anchorman: The Legend of Ron Burgundy Michael McKean This Is Spinal Tap, Best in Show, Planes, Trains & Automobiles Andrea Martin My Big Fat Greek Wedding, Wag the Dog, Hedwig and the Angry Inch Jon Lovitz Big, Rat Race, A League of Their Own [more]

...it's worth a look if you can't make it out to a live version, but the ultimate truth is that it will always be an unnecessary adaptation of a classic film. A re-release of the Gene Wilder version would have been preferable to this; a disappointing mess that'll leave you before the credits have finished. Assuming you manage to make it that far to start with.  --Joe Utichi (FilmFocus.co.uk) Notwithstanding the disappointingly stagy and claustrophobic feel of The Producers 2005, Mel Brooks’ classic script alone elevates The Producers Any Year Any Version to “must see” territory. For me, the only two things left to ponder are (1) why-oh-why was Rob Marshall somewhere else when he might have been here? and (2) I wonder what Susan Stroman might have accomplished with Memoirs of a Geisha.  --Elaine Perrone (eFilmCritic.com) Fans of the Broadway incarnation might find a thrill in only paying ten bucks to see their beloved stage show whenever they want, but if you’re new to this crazy Mel Brooks creation, this 2005 cinematic torture chamber is the last way anyone should experience it for the first time.  --Brian Orndorf (eFilmCritic.com) Stagy but enjoyable screen adaptation of Brooks’ hit musical with superb comic performances from original cast members Lane and Broderick.  --Matthew Turner (ViewLondon) And my taste in comedy is still broad enough to get a kick out of the old stuff. As far as I’m concerned you can’t kill burlesque no matter how many times you try to drive a shtick through its heart.  --Doug Bentin (eFilmCritic.com)

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