BEST MEL BROOKS MOVIES
“The Producers” (1968) Which creative forces purposely would want their Broadway show to fail? Zero Mostel and Gene Wilder, at least in their roles as said producers of the musical “Springtime for Hitler” in this smart comedy that put Brooks on the movie map. The later stage-musical version yielded a separate 2005 film, but this version starts a Brooks double feature Saturday, Feb. 6, on Turner Classic Movies. “The Twelve Chairs” (1970) More linear in its storytelling than Brooks projects largely strung together from hit-or-miss jokes, this comedy uses a classic Russian novel as the basis for its story of the search for some very literal family jewels stashed inside one of the title seats. “Blazing Saddles” (1974) Brooks moved into smash-hit territory with this uproarious Western satire – the bottom half of the aforementioned Feb. 6, bill on TCM – which gives the town of Rock Ridge a black sheriff (Cleavon Little) with a besotted sidekick (Gene Wilder), and makes it prime for swindling by sneaky Hedley Lamarr (Harvey Korman). Also hilarious: Brooks himself in dual roles, Alex Karras as lovable brute Mongo and Madeline Kahn as saloon siren Lili Von Shtupp. “Young Frankenstein” (1974) The humor is so fine-tuned in Brooks’ combination of parody and homage, it shouldn’t be overlooked how stunningly accurate the production design is, some of it involving actual props from Universal’s 1930s “Frankenstein” movies. Gene Wilder is both sympathetic and hilarious as the younger Dr. Frankenstein, out to succeed in the family mission to create a synthetic man (Peter Boyle). Great supporting players include Marty Feldman as right-hand man Igor (that’s “Eye-gore” here) and Cloris Leachman as Frau Blucher, the mere mention of whose name causes horses to retreat in terror. “Silent Movie” (1976) Exactly what its title says, Brooks’ salute to vintage Hollywood makes him, Marty Feldman and Dom DeLuise an amiable trio trying to sell modern Tinseltown on ... well, a silent movie. Anne Bancroft (alias Mrs. Brooks), Paul Newman and Burt Reynolds get in on the fun; so does mime Marcel Marceau, cleverly given the film’s sole spoken word. “High Anxiety” (1977) Think of any aspect of an Alfred Hitchcock suspense movie, and you’re more than likely to find it here as Brooks plays the Cary Grant sort of innocent-man- trapped-in-circumstances beyond his-control. “History of the World: Part I” (1981) The fact that there has been no “Part II” suggests how uneven this collection of history-spoofing vignettes is, but when it hits the mark, it does so in the best Brooks tradition. And that goes right up to its closing trailer for the sequel that’s never been. “Spaceballs” (1987) “Star Wars” comes into Brooks’ crosshairs in this obvious but highly amusing send-up of that intergalactic saga, so close to the source that George Lucas had to sign off on many of the elements used. Arguably the funniest performer is John Candy as a Chewbacca-like creature named ... Barf.