The Mel Brooks Collection [9 Discs] [Blu-ray]The Mel Brooks Collection [9 Discs] [Blu-ray]

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MOVIE DESCRIPTION:

    Disc 1: Blazing Saddles Blu-ray Disc 2: Spaceballs Blu-ray Disc 3: Young Frankenstein Blu-ray Disc 4: High Anxiety Blu-ray Disc 5: History Of The World Part 1 Blu-ray Disc 6: Robin Hood Men In Tights Blu-ray Disc 7: Silent Movie Blu-ray Disc 8: To Be Or Not To Be Blu-ray Disc 9: Twelve Chairs Blu-ray

DVD FEATURES:
  • Number of Discs: 9
  • Audio: Dolby Digital Stereo
  • Aspect Ratio: 2.40:1
  • Screen: Color
  • Features:
    • 7 Featurettes Plus 6-All-New Featurettes Exclusive to Blu-ray
    • 4 All-New Trivia Tracks
    • 5 Isolated Score Tracks
    • Plus Commentaries, Interviews, Documentaries, Still Galleries
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Nominated Best Supporting Actor - 1983 (Charles Durning)
  •     Nominated Best Adapted Screenplay - 1974 (Gene Wilder, Mel Brooks)
  •     Nominated Best Editing - 1974 (John C. Howard, Danford B. Greene)
  •     Nominated Best Song - 1974 (Mel Brooks, John Morris)
  •     Nominated Best Sound - 1974 (Richard Portman, Gene S. Cantamessa)
  •     Nominated Best Supporting Actress - 1974 (Madeline Kahn)
  • Hollywood Foreign Press Association
  •     Nominated Best Performance by an Actor in a Supporting Role in a Motion Pictu - 1983 (Charles Durning)
  •     Nominated Best Performance by an Actress in a Motion Picture - Musical or Com - 1983 (Amy Bancroft)
  •     Nominated Best Performance by an Actor in a Motion Picture - Musical or Comed - 1977 (Mel Brooks)
  •     Nominated Best Picture - Musical or Comedy - 1977
  •     Nominated Best Performance by an Actor in a Motion Picture - Musical or Comed - 1976 (Mel Brooks)
  •     Nominated Best Performance by an Actor in a Supporting Role in a Motion Pictu - 1976 (Marty Feldman)
  •     Nominated Best Performance by an Actress in a Supporting Role in a Motion Pic - 1976 (Bernadette Peters)
  •     Nominated Best Picture - Musical or Comedy - 1976
  •     Nominated Best Performance by an Actress in a Motion Picture - Musical or Com - 1974 (Cloris Leachman)
  •     Nominated Best Performance by an Actress in a Supporting Role in a Motion Pic - 1974 (Madeline Kahn)
  • National Board of Review
  •     Nominated Best Picture - 1976
ADDITIONAL INFORMATION:
REVIEWS:
  • By the time Spaceballs rolled around, Mel Brooks' brand of zany slapstick and genre parody had long since begun to wear out its welcome. And by 1987, Star Wars was a positively ancient target for satire. It's no surprise, then, that this collection or hoary puns and cheesy sight gags smelled strongly of mothballs even during its initial run. Despite the assembled talent, from John Candy to John Hurt, writer/director Brooks seems more capable of eliciting groans than laughs with his endless sight gags and pointless running jokes. Joan Rivers is actually a hoot as the voice of robot prude Dot Matrix. But it doesn't say much for the rest of the picture that the best acting -- and funniest jokes -- come from a performer who's heard but never seen. With his royal drag and practically dreadlocked fright wig, Dick Van Patten is worth a laugh or two as the hapless King Roland. Brooks also works in a few decent set pieces and swipes at other sci-fi films. But the puns, from "Druish Princess" to "Pizza the Hut," belong in the warmup monologue of a talk show, not the script of a Hollywood feature. And the jokes are even worse when they fall outside the confines of Mad Magazine-style send-ups. The scene in which the characters watch the video of their own movie to find out what happens next is only one example of the labored hamminess on display. In fact, the only consistently funny element is John Morris's score, which takes deadly aim at the bombast of John Williams -- and scores a direct hit. ~ Brian J. Dillard, Rovi
  • Few movies have offered up such satisfying parody and un-self-conscious wit as this Mel Brooks spoof, and all with the scatological flair that only Brooks can provide. When he's in top form, Brooks can make audiences feel as if they're simultaneously going to burst into tears, bust a gut, and pee in their pants with laughter. The great thing about Young Frankenstein, aside from this ability to make people lose all motor functions, is the reverence it pays to the films it parodies. Silly but always respectful, Brooks wants to honor the old Frankenstein films rather than skewer them, and as a result he serves up a film that is a cinematic achievement rather than a half-baked knock-off of better efforts. One of the funniest films of the 1970s, Young Frankenstein has lost none of its hilarity to the passing of time, serving as a reminder of how innovative parody can be. ~ Rebecca Flint Marx, Rovi
  • From poking fun at other movies to lampooning Jewish stereotypes himself, Mel Brooks has pulled out all of his old tricks in Robin Hood: Men in Tights. As usual, word play has a major role in this movie -- the Sheriff of Nottingham becomes the stuttering Sheriff of Rottingham (Roger Rees), and Friar Tuck becomes Rabbi Tuckman (Mel Brooks). No aspect of the Kevin Costner vehicle Robin Hood: Prince of Thieves is left unspoofed in Men in Tights, and some jabs are particularly well-aimed -- Cary Elwes' Robin Hood makes sure to point out that he, unlike Costner's Robin Hood, has an English accent. True to form, Brooks made the mistake of relying too heavily on cultural stereotypes to bring laughs. The rapping Merry Men were at first entertaining, but their appeal quickly wears off and fails to disguise the choppy editing. However, while Brooks has the tendency to repeat his past mistakes, his expertise in making fun comes off equally strong in Men in Tights. Cult fans will be happy. ~ Tracie Cooper, Rovi
  • History of the World Part I is the kind of uneven comedy whose bad parts are so unworthy of its good parts that it creates a state of total schizophrenia. As those who shook their heads at the sputtering ending of Blazing Saddles will attest, Mel Brooks can be brilliant in stretches, but he often fills the gaps with eye-rolling idiocy, or simply ceases to try. Give him credit for making an ambitious parody with dozens of familiar faces hamming it up, but then take some away for the indifferent execution that falls away progressively as the movie moves forward. As usual with Brooks, the silly puns and other obvious jokes are sometimes quite winning; in a prime example, the director wrings genuine laughs from a scene in which a confused Jesus Christ keeps responding to the modern usage of his last name as an expletive. But he milks the winners for way too long. As the king in the French Revolution piece, Brooks winks at the audience and pronounces, "It's good to be the king" after engaging in one act of kingly lasciviousness after another. At first it's funny, but as the segment drags out interminably, it quickly becomes desperate, and groans soon follow. The film is worth a look for what it does right, including a priceless sequence in which the inimitable Madeline Kahn, as the Brooksian-named Empress Nympho, does a sing-songy selection between studs on the basis of their endowment. Still, it's definitely best that Brooks never tried a Part II. ~ Derek Armstrong, Rovi
  • Mel Brooks at his ribald, tasteless best, Blazing Saddles stands out as one of the all-time great film spoofs. Sparing no one from his outrageous brand of humor, Brooks proved he was an egalitarian when it came to making fun of people, regardless of skin color or religious persuasion: where blacks may come off as stereotypical, whites are seen as just plain stupid and ignorant. Beyond its over-the-top humor and genre revision of the Western, Blazing Saddles boasts some great performances, with Madeline Kahn, Gene Wilder, and Slim Pickens doing some of the best work of their careers. It also features a number of scenes that have elevated the film into the realm of the comedy classic, perhaps most infamously the one involving beans, a campfire, and the most gratuitous display of flatulence ever to cloud a movie screen. ~ Rebecca Flint Marx, Rovi
  • Mel Brooks' brand of humor -- over-the-top, non-stop, often outrageous -- tends to be a matter of taste, although when he's in top form (e.g., The Producers, Young Frankenstein) he's appreciated by almost everyone. High Anxiety is definitely lesser Brooks and wildly uneven, but partisans will embrace it wholeheartedly. As a Hitchcock parody, it includes some excellent visual touches, such as skewed camera angles, use of "caged" shadow motifs, Madeline Kahn's icy blond wig, and especially the Psycho shower scene, here staged with Brooks the victim of a crazed bellhop with a newspaper. Unfortunately, the take-off on The Birds, which starts out well, degenerates into cheapness, though fans of the Farrelly Brothers will probably appreciate it. Brooks is fine in the lead role; as usual, there's both a "distance" and an excess to his performance that keep him from being as good as he should be. Kahn is delightful, though her role doesn't make wise use of her considerable talents. (Do watch for her reaction when she thinks she's getting an obscene phone call, however, as well as her airport scene.) Cloris Leachman gives a performance of tremendous skill and total commitment and creates another memorable character; unfortunately, much of what she and Harvey Korman are called upon to do, while daring in 1977, is a little embarrassing today. After High Anxiety, Brooks went into something of a commercial decline as his style of humor fell out of favor with audiences. ~ Craig Butler, Rovi
  • Silent Movie is not Mel Brooks's best film, but it may be his sweetest. There's a touching innocence about most of this film, as well as a sense of playfulness that's rather endearing. The trio of characters at the core of the film are essentially childlike in nature, and with no "dialogue" to speak of, there's little room for the raunchiness or crassness that is often found in other Brooks films. (One notable, and hysterical, exception, is the reaction of the Engulf & Devour Board of Directors to Bernadette Peters' Vilma Kaplan. Brooks uses the title cards to good effect, as when Marcel Marceau's ringing phone is accompanied by a "Sonnez" title card or when some clearly off-color remarks are translated in a bowdlerized version. And, of course, there are a plethora of sight gags, some of which work, some of which do not. (The ping-pong game on the life support screen being a good example of the former.) On the down side, too many of the gags are a bit predictable, and the episodic nature of the piece makes it drag somewhat. The very sweetness of the film also seems to water down the humor somewhat; there are not as many laughs as one would expect from a silent movie comedy, especially with this cast. Still, it's always enjoyable, and Brooks deserves credit for trying something as different as a silent movie in the first place. ~ Craig Butler, Rovi
  • The very amusing The Twelve Chairs is probably Mel Brooks' least demented comedy. Fans looking for the same off-the-wall sensibility that pervades Blazing Saddles and Young Frankenstein might be a little disappointed, although there certainly are moments that should please them (such as when Dom DeLuise opens his window after pulling into a Siberian train station to confront a mountain of snow or the chase sequence that leaves him stranded atop a mountain with no way down). But on the whole, Chairs is in a more standard-comedy mode, and those who approach it with this in mind should find plenty to keep them entertained. As director, Brooks is in as measured a mood as Brooks the writer, and that (relatively) relaxed feeling gives Chairs some surprisingly leisurely moments. Rather than letting the energy sag, this gives the viewer some time to concentrate more on the characters than the jokes. Unfortunately, this is one of Chairs' weaknesses; the characters are not poorly drawn, but they could use a tad more depth to really engage the viewer. Fortunately, Brooks has rounded up an appealing cast that more than makes up for this little deficiency. If Frank Langella lacks the comic energy that one associates with Brooks, he still has the commanding presence required by the part. Ron Moody is in fine form as the former owner of the title chairs, making the most of his predicament when told to sit by Langella and pulling off the difficult ending with great skill. And DeLuise, given the showiest part, takes full advantage of that fact. If Chairs does not reach lunatic heights, it still is disarming and enjoyable. ~ Craig Butler, Rovi

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