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Mel Brooks Just Received a Lifetime Achievement Award, and It’s No Joke

The Tattler: Critics focus on the childlike nature of his humor, but there’s always been more than meets the eye to the King of Id

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(Collage Tablet Magazine; original stills via IMDB.)
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I still remember the magnificent day of my childhood when my parents finally explained to me where Jewish American comedy came from: It was either from Mel Brooks or Woody Allen. Maybe this not-entirely-true but not-entirely-false equivalent was due to their own narrow-ish frame of reference, or maybe just because our local video store in Omaha didn’t have any Marx Brothers movies. But these two were held up to me as pretty much it. The twin tent poles of laughter. Woody, my parents explained, was the cerebral yin to Brooks’ gauche, extroverted yang—or, to put in terms they both might appreciate, the Kultur-mad yekke superego (Jung, Jung, Jung) to Brooks’ coarser, Borscht-Belt id (boobies, boobies, boobies). Obviously, you could enjoy both and accord them each their proper place in the pantheon of influence, but like Quentin Tarantino wrote, you’re either an Elvis person or a Beatles person. Sooner or later you have to come down on the side of one or the other.

As a child, I vastly preferred Brooks—and knew, although it was never said aloud, that I had somehow made the wrong choice. I didn’t care. I loved—and still loved—Woody Allen, but Mel Brooks, it seemed, was directly speaking to me. As a 6 year old, I didn’t yet know who Freud was (Three Essays on the Theory of Sexuality not entering the Nebraska public-school curriculum until the second grade), but I knew why it was funny that the guy who played Seymour in Little Shop of Horrors was dressed up as Darth Vader. I knew why it was funny that those Indians talked like my Bubbe in the Home after she forgot how to speak English, and that an unseen horse neighed every time someone mentioned Frau Blucher. And at an age when I was first discovering the horrors of the Holocaust through the seemingly endless supply of books detailing them in the JCC children’s library, I found it comforting (and hilarious) that someone—a grown-up (of sorts)—could make a movie that turned Nazis into grinning, tap-dancing chorus boys instead of the nightmarish, child-killing phantoms that haunted my waking dreams in a movie that also starred that man I loved who played Willy Wonka.

Which is why I was somewhat mystified yesterday, when the American Film Institute announced that Brooks would receive their prestigious lifetime achievement award. At the announcement, Sir Howard Stringer, the chairman of the AFI board—since when is a British Knight of the Realm in charge of deciding what’s what in American film?—sounded just the teeniest bit defensive about the choice, saying Brooks “is a master of an art form that rarely gets the respect it deserves, and it is the AFI’s honor to shine a bright light on laughter.”

That Brooks’ concepts and sensibility are obvious enough for a child to get is the main charge that has always been leveled at him by his critics; after all, if it’s obvious, it must not be good. But there’s always been more than meets the eye operating under the surface with Brooks’ films. His nose for talent and ability to assemble a cohesive—and hysterical—ensemble of actors (Cloris Leachman! Harvey Korman!) rivals Allen’s any day and paved the way for the similar comedic stables of fellow auteurs like Judd Apatow and Albert Brooks (no relations, obviously, since this Brooks was born Albert Einstein. This has nothing to do with anything, it just makes me laugh). Brooks is a master of parody whose best films—Blazing Saddles, Young Frankenstein—rank easily shot-for-shot with some of the greatest films of the genres they satirize. “To be a master of parody is to be a master of everything.” (I said that, and you can quote me.)

But where Brooks’ films were—and remain—truly revolutionary is in their treatment of women, and in particular Jewish women. Unlike the Allens and Apatows—past, present, and undoubtedly future—Brooks never prostrates himself at the altar of the shikse. The visions of Germanic blondness that are Ulla in The Producers or Inge in Young Frankenstein are themselves parody figures, a way of commenting—and sharply satirizing—the lunacy of his peers’ worshipful reverence/thinly veiled resentment of the Aryan female. There are plenty of low-cut dresses and scantily clad bimbettes in Brooks’ films, but the objectification is the joke, and the women are in on it. For Brooks, women are stars, not subjects. The prototypical Woody Allen heroine is the prototypical Mia Farrow role: a thin, intellectually insecure neurotic who meekly submits to her lovers’ demands she attend analysis three times a week in deference to his big Jewish brain, even though it’s clear—whether he knows it or not—that her only real problem is that she is dating him.

The ideal woman in a Mel Brooks film is Madeline Kahn.

It’s a message so simple a child could get it, and is ever so grateful she did. Mazel tov, Mel. And thank you.

***

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Michael Stein says:

There are two absolute truths in the entertainment world.

1. Elvis is better than the beatles.
2. Mel Brooks is far superior to Woody Allen.

gwhepner says:

ON THE ALTAR OF THE SHIKSE MEL AND WOODY

At the altar of the shikse Mel

never prostrates himself—why should he?

By contrast giving shikses hell

is the hallmark on the arse of Woody.

To Mel’s most Ostyiddish yang

Woody’sis the Yekkish yin.

From Mel your bucks will get a bang,

with Woody they will sink in sin.

gwhepner@yahoo.com

gwhepner says:

Two absolute fallacies, I would say.

esamet says:

I just learned on American masters last week (Did Mel hire a new PR agent?) that he is also responisble for producing a string of really high-qulity films. I like to call this genre “grown-up movies.”

The best part is hearing the directors of those (David Lynch!) talk about how he wouldn’t meddle or give notes but would be there if they needed help.

irvingdog says:

Do not forget his and his late wife’s version of “To Be or Not to Be,” which just may be better than the original, esp. its opening sequence.

Billy Engerson says:

huge fann of mel brooks movies! ARTFANTASCO!yadda YADDA yadda!

vacciniumovatum says:

They both married gentiles so that gives you an idea of their commitment to Jewish women.

Mr Mel says:

However their first wives were Jewish.

Ian Young says:

He deserves the award! Thank you, Mel, for a million laughs as a youth and an adult.

Golum says:

I’ve always liked Woody and thought he was very funny…Buuut Melvin Kaminski???…ole’ Melvin is the absolut “Holy Grail” of Comedy!!!!

Ever see them on a talk show….

Woody stammers and stutters…Melvin brings down the house!!!

I have all the original Carl & Mel Albums…and every interview with Mel since 1978 & my first VCR!!!!…obviously all Mel’s Movies too. Woody is the funny ineffectual apologetic intellect…to Mel’s Blue Coller Borscht Belt Drop Dead Funny Comic!!!

Mel told David Steinberg about his start as a “tummeler” in the Catskills…his job was to get people to laugh….but being a kid he had no clue…However with that special something that endears him to all he managed to get by…One day he was passing the pool and some seniors yelled at him…”Melvin…You Stink!!!…..buut we love you”!!!!

As for marrying Shiksas???…Annie Maria Spaghetti (or whatever her real name was)…Anne was as Jewish as any Italian could possibly be…and The duet of “Sweet Georgie Brown” in Polish with Mel was a friggin’ masterpiece!!!

It’s funny though… of all Mel’s movies…probably my real favorite was his flop…”The 12 Chairs”. To me it was his Masterpiece…But it was not the normal Mel…it was a kinda controlled Mel….my only complaint was that Melvin was not in the movie enough.

Wouldn’t it be a hoot to see Mel Brooks do a version of “Fiddler”…or pick up some Bathshevis Singer or other Sholem Aleichem story and give us a real Jewish Melvin Kaminski shtetyl movie as his legacy to the Jews???

Keep on Cookin’ Mel…”We Love You”!!!!

Lynne T says:

Can’t speak to 1 (I’m a Dylan fan), but certainly agree with 2. Mel recently gave an hour long interview to CBC Radio host Gian Ghomeshi and was absolutely wonderful to listen to. Ghomeshi asked Brooks whether he agreed that women aren’t as funny as men. Brooks disagreed with the Jerry Lewis / Christopher Hitchens school of thought and cited a number of brilliant women comics.

http://www.cbc.ca/q/blog/2013/05/16/mel-brooks-on-a-life-in-comedy-1/

Jeffrey M. Green says:

I love both of these funny fellow Jews. The 2000 Year Old Man and Woody Allen’s shooting a moose performance are brilliant. Regarding their attitudes to non-Jewish women, it should be remembered that that late Anne Bancroft was Italian-American (which, in a way, is almost Jewish). Anyway, your piece makes me want to look at every Mel Brooks movie.

Debra Wolosky says:

1. I always thought the choice was between Elvis and Buddy Holly. Buddy wins.

2. For me the difference between two of Brooklyn’s most celebrated comics is Brooks’ humor has a generosity of spirit that is often missing from Allen’s work. They are both brilliant, but I only want to hug one of them.

Debra Wolosky says:

For anyone interested, The AFI ceremony will be shown on Turner Classic Movies on July 24, followed by Mel’s rarely seen, wonderful, ‘The Twelve Chairs’

half right ;)

2000

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Mel Brooks Just Received a Lifetime Achievement Award, and It’s No Joke

The Tattler: Critics focus on the childlike nature of his humor, but there’s always been more than meets the eye to the King of Id

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