Tag Archives: Get Smart

Happy Birthday, Mel Brooks!

I was flipping channels and caught the end of the Get Smart movie starring Steve Carell and Anne Hathaway, and while it was mildly entertaining, I couldn’t help think how it paled in comparison to the brilliantly written series.

Of course, I can watch that whenever I want – a majestic box set.

And it made me miss Mel Brooks. Yes, I know he’s alive, and a spry 85 at that (pickles are nutritious, you know). But Woody Allen keeps spitting out films at a rapid pace, occasionally hitting the high marks again. But he’s long since given up zany comedy. Most of today’s comedy films are so broad and cliché that they quickly fade from memory. But the world of today is a crazy, insane place. We need crazy, insane comedy.

We need Mel Brooks now more than ever. I know he has lost so many of his reliable company; Harvey Korman, Marty Feldman, Dom DeLuise, Rudy DeLuca, Madeline Kahn, Ron Carey and Kenneth Mars have all left this mortal coil.

But as Mel himself would say, “we have much to do and less time to do it in.”

Happy Birthday, Mel! Now get busy

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Happy Birthday Don Adams

Don Adams died five years ago today.

Get Smart was one of the funniest television shows of its time, combining puns and double-entendres with great sight gags. Of course, they had a ripe playing field to run around on. Spy movies were big at the time – from the apex of the James Bond films to the more serious (and better scripted) classics like The Ipcress File and The Spy Who Came In From The Cold.

Of course, with writers like Buck Henry and Mel Brooks, how could it not be funny? Catchphrases “Would you believe?”, “Missed it by that much!” and “Sorry about that, Chief” became part of the lexicon. It’s no accident that Steve Carell played the Maxwell Smart role in the recent big screen adaptation; both comic actors have a knack for sarcasm and deadpan humor. By more or less playing it straight, their buffoonish characters are that much funnier.

Adams’ distinctive voice was also immediately recognizable as the lead character in a pair of well-known cartoon classics – Tennessee Tuxedo and Inspector Gadget. Not much acting there – each sounded exactly like Maxwell Smart hiding behind an animated costume, which made watching either of them a surreal experience for me.

But sometimes lightning in a bottle is just that. The Get Smart films Adams made were amusing but paled in comparison to the show, as did the Carell film (which had its moments but completely blew the tone). Adams and Barbara Feldon even tried to re-launch the series  thirty years after the initial program debuted (with Max as chief!) but it  floundered and died. Thankfully, the studios finally released the complete set of the original Get Smart episodes two years ago…it’s amazing how much of it holds up after forty-five years.

Don Adams Wikipedia page

Get Smart on DVD

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Happy Birthday, Mel Brooks!

 

He’s given us (among other things) Get Smart, The Critic, Young Frankenstein, Blazing Saddles, and The Producers. He helped get The Elephant Man and My Favorite Year brought to the screen. He made his bones in a writer’s pit with Neil Simon, Carl Reiner and Sid Caesar

As an actor, director, producer, screenwriter, lyricist, singer and playwright he has helped introduce satire and parody to the last three generations…and his timeless work will continue to entertain the planet (and whatever life-forms visit in the future) for eternity. 

He’s won an Emmy, a Grammy, a Tony and an Oscar

 

He is, without a doubt, a comic genius

He is Melvin KaminskyMel Brooks to us – and he’s 83 years old today

I’m sure I’m not the only person who can recite lines from Blazing Saddles and Young Frankenstein by heart – I might, if pressed, spill out the whole movie. When The American Film Institute (AFI) released their recent poll of the funniest movies ever made, Brooks scored three of the top thirteen: Blazing Saddles (#6), The Producers (#11), and Young Frankenstein (#13). That is astounding

As an Alfred Hitchcock fan, I have a soft spot in my heart for High Anxiety, which skewers several Hitchcock films perfectly while maintaining a suspenseful (but hilarious) plot of its own. It’s a funny film if you’ve never seen a Hitchcock film, but if you know the master, it’s priceless. And who but Brooks would float a silent movie – called Silent Movie, of course – where the one spoken word came from the mouth of the world’s most famous mime? 

I realized recently that there were a lot of people who were very familiar with Young Frankenstein and Blazing Saddles (film and Broadway versions) but were unaware of Mel’s iconic “2000 Year Old Man” character, a routine played to perfection with the great Carl Reiner. A few months ago Shout Factory released a box set collecting all the albums and cartoons, adding some commentary and rare footage. It’s a first-rate package and a must-own for comedy fans. 

 Here is my review from earlier this year… 

 

Reiner recalls that the genesis for the 2000 Year Old Man occurred when he approached Brooks with “Here’s a man who actually knew Jesus” and Brooks deadpanned “Oh, boy”. But although they would continue the routine in private for years as parlor entertainment for themselves and their friends, it wasn’t until they were finally prodded by Steve Allen to record it in his studio. (Or perhaps it was George Burns asking if the routine had been recorded, playfully insinuating that he’d swipe it if it wasn’t.) Reiner had gotten in the habit of bringing a tape recorder to these parties because Brooks never said the same thing twice, and he was astute enough not to let this comedic gold slip away. 

  

Over the years the pair released five albums: 2000 Years with Carl Reiner and Mel Brooks (1961), 2000 and One Years with Carl Reiner and Mel Brooks (1961), Carl Reiner and Mel Brooks at the Cannes Film Festival (1962), 2000 and Thirteen (1973) and The 2000 Year Old Man in the Year 2000 (1998). The 1998 album won the Grammy for Best Spoken Word Comedy Album, besting fellow nominees Steve Martin, Jerry Seinfeld, Jeff Foxworthy and The Firesign Theatre.  

The structure of featuring the title character as one among many was continued on the second and third albums, but the fourth and fifth albums were dedicated solely to the man who survived modern history. Reiner continued to play the voice of the audience, asking questions and challenging answers. “He was like a District Attorney” claimed Brooks, who felt that Reiner’s real-life knowledge of history and important events raised the bar on the exchanges. “I knew the questions” quipped Reiner, “but I didn’t know the answers”. 

Read the rest of my review at PopMatters

Mrs. Robinson, I think you DID seduce me!

Mel Brooks wiki 

Get this incredible collection of Mel’s films for a pittance! 

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