Also known as: Black Bart (working title)
Release Date: February 7th, 1974
Directed by: Mel Brooks
Written by: Mel Brooks, Norman Steinberg, Andrew Bergman, Richard Pryor, Al Uger
Music by: John Morris
Cast: Cleavon Little, Gene Wilder, Slim Pickens, Alex Karras, Mel Brooks, Harvey Korman, Madeline Kahn, David Huddleston, Dom DeLuise, Count Basie
Crossbow Productions, Warner Bros., 93 Minutes
“My mind is a raging torrent, flooded with rivulets of thought cascading into a waterfall of creative alternatives.” – Hedley Lamarr, “God darnit, Mr. Lamarr, you use your tongue prettier than a twenty dollar whore.” – Taggart
I’m a fan of Mel Brooks’ work but not as much as the hardcore fans out there. Most of the ones I’ve talked to over the years seem to like this film the best out of Brooks’ oeuvre. Young Frankenstein is my personal favorite but I’ve also got a deep affinity for the Universal Monsters, which it paradoies.
I also really love westerns too, though. So, naturally, I like this picture quite a bit too. However, I don’t hold it in the same esteem as others.
Everyone in this is pretty damn great, however. Cleavon Little stands out the most, as the actual star of the picture and because he’s just so damn charismatic and likeable. Additionally, his camaraderie and comedic timing with Gene Wilder is incredibly good.
Beyond the two leads, everyone else in the picture is well cast and this is written in a way that allows them all to play to their strengths while also maximizing their value to this large tapestry of talent.
I guess it probably goes without saying but this is a film that you couldn’t make today. It features so much language that would overwhelm the easily offended, which seems to be everyone these days. Modern filmgoers would be so fixated on the language that they’d miss the point of it all.
This was a film that came out in the ’70s and American entertainment was greatly effected by the civil rights movement of the 1960s and the racial tensions the United States had to work through. This movie reflects that, as did most comedy of the time, and it features a lot of racially charged language and situations. But it’s how it handles all of that and presents it that is important. Nowadays, nuance and context are completely lost because fingerblasting your own pearls while on public display is the only way these kids know how to communicate, anymore.
Blazing Saddles is a film that doesn’t give a fuck about anyone’s feelings. It cannonballs into the deep end of the pool, splashing everyone and everything, and it just puts it all out there, letting people express their points and their social grievances through comedy. And this is why comedy was great. It could challenge us, turn the world on its head and directly engage with tough topics and things that many would otherwise try to ignore or suppress.
In reality, comedy brought people together and it built bridges between cultures and different points-of-view born from very different experiences. Also, it didn’t allow everyone to have such thin skins. It forced most people to toughen up and deal with shit, so we could all move forward.
And while I didn’t want a movie review to devolve into a political or social discussion, I know that it’s only a matter of time before the censors retroactively try to cancel this picture.
Pairs well with: other Mel Brooks parody films.
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