Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Comwayon A Disappointing Continuation

Usamah Harvey The film's masterful storytelling did its job. The message was clear. No need to overdo.

Jenni Devyn Worth seeing just to witness how winsome it is.

Jon Gilbert In Blazing Saddles, Mel Brooks touches on the inherent theme of racism in Hollywood in the classic movies of the Wild West in a way that is both hilarious and clever. Although shown over 40 years ago, it is still a timeless classic. Cleavon Little enters as a black railroad worker named Bart, who escapes death at the hangman's noose only to find himself thrust into a conflict between Attorney General Hedley Lamarr (Harvey Korman) and the Wild West town of Rock Ridge. Wanting to drive out the residents so he can build a railroad through the land he makes Bart the sheriff of Rock Ridge, hoping to create chaos and anarchy through the townspeople's inherent racism. This attitude towards Bart is taken to the extremes, at one point having him dress up as a member of the KKK to avoid detection, but Brooks carefully navigates this to create a masterpiece of comedy. Bart arrives in the town of Rock Ridge as the new sheriff but instead of being greeted with open arms by the residents he is instead faced with a seemingly impenetrable wall of hostility and racism. However, along with alcoholic gunslinger Jim, he saves the town from a terrorizing band of outlaws and so wins their trust. Together they create a hero and sidekick that is so obviously clichéd that it instead becomes genius. The jokes in the movie are corny and silly, the bad guys are unbelievably stupid, and a blonde German bombshell, Lili von Shtupp (Madeline Kahn) who is hired by Lamarr to seduce Bart is probably the silliest, most ridiculous character I have ever seen. However, this does not detract from the film but rather adds to it. This eccentric group of characters combined with the take on Wild West racism throughout could have made this film bad, not funny, and potentially extremely offensive. But it isn't. The film works because it finds the thin line between funny and offensive and treads it perfectly, each character finds their stereotype and exploits it to the maximum but with full awareness of where they are in the plot. Although on the surface the film can seem messy and sloppily told, look deeper and you will see how carefully the film has been put together. Each new joke and scene is daring and bold, taking your expectations of the film and shattering them. With any comedy, however, there are the bad jokes, not a single film in existence is perfect and comedies are often the most imperfect of all, as the job of keeping us laughing throughout is incredibly challenging. But Blazing Saddles knows this, and instead of refining the film to create a "perfect" comedy, it knows the truth, that being the audience certainly won't laugh at everything so it throws enough curve balls that if you are guaranteed to find yourself enjoying it at the very least. Blazing Saddles has stood the test of time as it is a rare example of originality in an industry dominated by sequels and clichés, it finds every cliché known to man and turns them into a movie that while crude and slightly shocking at times, is a movie for which the saying "a must see classic" is wholly deserved.

Hitchcoc They got me on the floor when Slim Pickens came riding up to that toll booth and turned around so he could get a load of quarters. Sometimes, this is a hit and miss movie, but when it's on, it is incredibly funny. Harvey Korman could make me laugh by looking at me. The fact that his name was Henley Lamar is enough right there. And there is Gabby Johnson speaking typical Western gibberish. Cleavon Little and that little old lady (Up yours). While the ending totally disappointed me, it really doesn't matter because there never was a coherent whole to it anyway. Mel Brooks continues to be insane. Where else do you have person who has the cred to do the insanity that he does? Oh, Gene Wilder and Mongo and whatever other stuff you can strut on the screen.

writers_reign I doubt if there's much left to say about this quasi-classic either pro or con. I saw it some thirty years ago and then again last night and I laughed more or less in the same places and shrugged and sighed in more or less the same places. Brooks is similar to the early Woody Allen in that his movies are a string of one-liners a la Neil Simon also but the difference is that both Brooks and Simon are using one-liners to punctuate a plot (Simon) or plot-of-sorts (Brooks) whilst in Allen's case the early movies were a string of one-liners in search of a plot. In this case Brooks has taken every cliché in the 'western' canon and then p****d all over it and added the odd surreal touch. For example Madelein Kahn's brilliant send-up of Marlene Dietrich is authentic in all but the 'adult' lyric; it's set in a saloon, much like the one in Destry Rides Again, saloons employed singers so what's the beef. Nothing serious it's just that the sequence has little or nothing to do with what's going on. On the other hand the brilliant scene of the Count Basie orchestra playing one of their signature hits, April In Paris in the middle of East Jesus with no audience is pure surreal.It's let down a tad by the Pirandello-type ending but then how else could you end something like this. Still highly watchable.

LakiM9 Mel Brooks found a way in 1974 to direct two of the greatest comedies of all time. And in that one year, he found a way to cram as many movie parodies, and not have any overlap, as any director can in Young Frankenstein and Blazing Saddles. What Young Frankenstein was to the 1930s horror movies Blazing Saddles was to the Westerns of the 1960s. But this one is of the funniest movies of all time, and for two such movies by the same director, with the same star, to come out the same year, to be on that list is quite an achievement. Now, the story, The residents of Rock Ridge (all named Johnson) need a new sheriff. They get one, Bart, played by Cleavon Little, who happens to be black. The film doesn't have much shock value anymore but it's still funny to watch and probably always will be, thanks to characterizations in here. On the negative side, especially if don't know Brooks does whatever he can to get a laugh and isn't all that political, this film might be too politically- correct with its reverse racism, bias against religion and overly crude situations. Overall, a very nice movie with the nice story.