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...PRODUCERS has many things going for it-notably a wild ad-lib energy that explodes in sight gags and punch lines. Mel Brooks, creator of TV's Get Smart, wrote and directed this piece of lunacy about a pair of sleazy producers (Zero Mostel and Gene Wilder) who try to make a killing on a Broadway flop...

Author: /time Magazine | Title: Television: Feb. 9, 1968 | 2/9/1968 | See Source »

...sleazy theatrical producer (Zero Mostel) enlists the aid of his wide-eyed accountant (Gene Wilder) in a convoluted cabal. Given the improper circumstances, a Broadway entrepreneur can make more from a flop than he can from a hit-by pocketing the backers' money after the show folds. Accordingly, the two men begin a search for the world's worst script. Mostel finally zeroes in on Springtime for Hitler, written by an unrepentant Nazi who believes that the Führer was infinitely superior to Churchill because he had more hair and besides, he was a better painter...

Author: /time Magazine | Title: Cinema: The Producers | 1/26/1968 | See Source »

...hire a totally mind-blown hippie (Dick Shawn) as their star, and attempt to bribe the New York Times drama critic by wrapping his ticket in a hundred dollar bill. To no avail. The show is unintentionally funny, the public floods the box office with orders, and Mostel and Wilder are floated up the river for fraud...

Author: /time Magazine | Title: Cinema: The Producers | 1/26/1968 | See Source »

...thirteen Friday and Saturday nights you can see the all-time film classics in the Sack Theatres "Cinma Spectrum" series. Starting Feb. 16, the series will include Billy Wilder's "Sunset Boulevard," Rossellini's "Open City," John Ford's "Grapes of Wrath," a set of Chaplin shorts, and Jean Renoir's "A Day in the Country." Get your tickets while they last...

Author: NO WRITER ATTRIBUTED | Title: Film Series | 1/22/1968 | See Source »

...with multiple images. One scene shows at the left an elderly woman watching TV; at bottom center, a detective interviews a witness; on the right, the strangler drives his car slowly through the streets to the elderly woman's house. Mary Ellen Bute's adaptation of Thornton Wilder's The Skin of Our Teeth will employ a wide screen, occasionally fragmented into a honeycomb of separate actions...

Author: /time Magazine | Title: Hollywood: The Shock of Freedom in Films | 12/8/1967 | See Source »

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