An American grandson of the infamous scientist, struggling to prove that his grandfather was not as insane as people believe, is invited to Transylvania, where he discovers the process that reanimates a dead body.
A psychiatrist with intense acrophobia (fear of heights) goes to work for a mental institution run by doctors who appear to be crazier than their patients, and have secrets that they are willing to commit murder to keep.
Down-on-his-luck theatrical producer Max Bialystock is forced to romance rich old ladies to finance his efforts. When timid accountant Leo Bloom reviews Max's accounting books, the two hit upon a way to make a fortune by producing a sure-fire flop. The play which is to be their gold mine? "Springtime for Hitler."Written by
Scott Renshaw <email@example.com>
The stage on which the 'Springtime for Hitler' number was performed was not large enough to accommodate the dancers marching in a circle to form a swastika formation. To film this overhead shot, the staircase had to be pushed back all the way back to the rear of the stage so that just the first steps were visible in the shot, and all the surrounding set had to be removed. See more »
After Bialystock and Bloom enter Roger de Bris' house, Carmen Ghia immediately asks them to take off their shoes to keep the white carpet clean. While on a shot of their faces, we see them both take off their shoes and hear audio to that effect. Yet when they get into the small elevator immediately after and in s subsequent scenes with Roger de Bris, they are obviously wearing shoes. See more »
Closing credits are in reverse order, acting like curtain calls, which lead up to the star actor. (which matches the order shown in imdb.) See more »
The original, network television broadcasts added some outtakes (more fuse bumbling by Franz Liebkin) near the end, between "The quick fuse?!" and the eventual explosion. The padding was probably to balance some censorship cuts in the running time. See more »
This is a classic film with wonderful performances all around (although I didn't take to Dick Shawn's as much as the others). Zero Mostel and Gene Wilder were perfect casting as was Christopher Hewitt (later to be known as TV's "Mr. Belvedere"). What's even more impressive are the various elements of truth that are beneath the histerical if not obsurbed storyline. The current Broadway hit doesn't compete with this film. The performances are good on stage but not as wonderful as here. Due to long term business problems this film wasn't released for home video and cable until much later then it should have been. Outright broad comedy and silliness belong in our daily lives and this film offers them very well. EVERYONE should see this film!
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