The bonkers, boundary pushing comic legacy of Mel… | Little White Lies

In Praise Of

The bonkers, bound­ary push­ing com­ic lega­cy of Mel Brooks

14 Oct 2017

Words by Darren Richman

Two stern-looking men in black cloaks against a dark background.
Two stern-looking men in black cloaks against a dark background.
With Young Franken­stein now a major stage show, we reflect on the career of a liv­ing leg­end of comedy.

When Mel Brooks’ first film, The Pro­duc­ers, was released in 1968, the hor­rors of World War Two were still fresh in the minds of many. One man, aggriev­ed by the friv­o­li­ty of a film that sought to lam­poon Nazism, con­front­ed the direc­tor with the words, I was in World War Two.” Brooks, with­out miss­ing a beat, replied, So was I, I didn’t see you there.”

It’s easy to for­get, in this era of fake news and social media echo cham­bers, that the 91-year-old man who appeared on The Jonathan Ross Show recent­ly to pro­mote the Young Franken­stein musi­cal fought the actu­al Nazis. Dur­ing the same press tour, the vet­er­an film­mak­er caused a stir on BBC Radio 4 for sug­gest­ing that polit­i­cal cor­rect­ness could prove the death of com­e­dy”. With­out wish­ing to analyse the com­ments in depth, it is notable that the bulk of the com­plaints have char­ac­terised Brooks as an old white man” while con­ve­nient­ly omit­ting the fact that he is, first and fore­most, a Jew (some­thing only Homer Simp­son had pre­vi­ous­ly failed to realise).

The come­di­an is the his­to­ry of Amer­i­can Jew­ish humour in human form and his work has tend­ed to punch up. He hasn’t made a film since 1995 and, it might be argued, hasn’t made a great film since a good while before that. To quib­ble about such things is to be remind­ed of the famous retort of Joseph Heller (a good friend of Brooks’) when asked why he hadn’t writ­ten any­thing as good as Catch-22’: Who has?”

Hav­ing con­quered tele­vi­sion, Brooks turned his hand to cin­e­ma in his ear­ly for­ties. Between 1968 and 1977, he made some of the finest com­e­dy films in the his­to­ry of the medi­um, tri­umphs of bad taste and affec­tion­ate homage. It is impor­tant we do not lose sight of his lega­cy on screen, a gen­uine trail­blaz­er who has influ­enced every­one from Sacha Baron Cohen to the Far­rel­ly brothers.

A clip of Brooks decon­struct­ing the mad­ness of BBC’s The One Show went viral recent­ly as the pre­sen­ters attempt­ed to segue from light-heart­ed chat to a sto­ry about a woman attempt­ing to trace her long-lost father. What a crazy show this is,” Brooks remarked, pre­sum­ably a thought that has occurred to many a guest but only he would have the audac­i­ty to articulate.

In a sense, he has spent his entire career break­ing the fourth wall with anar­chic glee. Pri­or to The Pro­duc­ers, Brooks made his debut with a short ani­mat­ed film called The Crit­ic in which he mum­bled his dis­plea­sure in a thick east­ern Euro­pean accent about a lack of plot over a series of sur­re­al images. He was decon­struct­ing before he was con­struct­ing and nabbed an Acad­e­my Award for his trou­bles. Inci­den­tal­ly, he is one of only twelve peo­ple in his­to­ry to win an Oscar, Emmy, Gram­my and Tony. Not bad for a man syn­ony­mous with fart jokes.

Brooks has nev­er seen a dis­tinc­tion between high and low com­e­dy, just between good jokes and bad ones. In High Anx­i­ety, his inspired send-up of the work of Alfred Hitch­cock, there is a nod to the mas­ter of suspense’s favoured zoom-in-through-glass tech­nique except in this ver­sion the win­dow breaks nois­i­ly. The icon­ic Eng­lish film­mak­er actu­al­ly sat down with Brooks pri­or to film­ing and even pitched a joke in which the hero is being chased by bad­dies and reach­es the end of a dock. He spots a boat about 12 feet away and leaps on to it only to dis­cov­er it’s actu­al­ly com­ing in. Sad­ly, for bud­getary rea­sons, it was nev­er shot, but Hitch­cock did like the film enough to send the direc­tor an expen­sive bot­tle of wine and a note which read: A small token of my plea­sure, have no anx­i­ety about this.”

Brooks’ finest work dis­plays a pro­found love of cin­e­ma and, undoubt­ed­ly influ­enced by this, in the 1980s he pro­duced clas­sics like The Fly and The Ele­phant Man. When Para­mount exec­u­tives saw a cut of the lat­ter and asked David Lynch to cut the sur­re­al­ist sequences that book­end the film, the come­di­an wasn’t in the mood for jok­ing and said: We are involved in a busi­ness ven­ture. We screened the film for you, to bring you up to date as to the sta­tus of that ven­ture. Do not mis­con­strue this as our solic­it­ing the input of rag­ing prim­i­tives.” The film was released unchanged and Brooks even went so far as to keep his name off the cred­its so as not to give audi­ences the wrong idea about its content.

These days, when not work­ing on musi­cals, Brooks spends his evenings with his old friend Carl Rein­er. Bar­ry Cry­er once remarked that he’s at an age where he’ll no longer buy green bananas and the two wid­ow­ers are spend­ing their time wise­ly, main­ly watch­ing movies. But, as his recent TV appear­ances have shown, Brooks has no inten­tion of going out with a whim­per. In his own words: If you’re alive, you’ve got to flap your arms and legs, you got to jump around a lot, you got to make a lot of noise, because life is the very oppo­site of death. And there­fore, as I see it, if you’re qui­et, you’re not liv­ing. You’ve got to be noisy, or at least your thoughts should be noisy, colour­ful and live­ly.” He’s cer­tain­ly made a noise, the rever­ber­a­tions of which will sure­ly be felt for gen­er­a­tions to come.

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