Mel Funn, a once-great Hollywood film director, is now recovering from a drinking problem and down on his luck. He and his sidekicks, Dom Bell and Marty Eggs, pitch to Big Pictures Studios' Chief the idea to make the first silent movie in forty years. The Chief rejects the idea at first, but Funn convinces him that if he can get Hollywood's biggest stars to be in the film, it could save the studio from a takeover by New York conglomerate Engulf & Devour.
Funn, Bell and Eggs proceed to recruit various stars for the film. They surprise Burt Reynolds in his shower, and revisit his mansion in disguise. They recruit James Caan filming on location, following slapstick fumbling in an unstable dressing room trailer. They find Liza Minnelli at the studio commissary, where she eagerly agrees to be in the film. They recruit Anne Bancroft by disguising themselves as nightclub Flamenco dancers. While visiting the ailing Chief in the hospital, Funn phones mime artist Marcel Marceau, who responds in French with the only spoken word in the film: a resounding "Non!". Don Bell asks, "What did he say?". Funn responds, "I don't know. I don't speak French!".
They see Paul Newman on the hospital grounds, and sign him to the film after a wild electric wheelchair chase.
In the course of their search for stars, the trio have a number of brief misadventures, including a mix-up between a seeing-eye dog and an untrained look-alike, several (mostly unsuccessful) efforts by Eggs to seduce various women, and a Coca-Cola vending machine that launches cans like grenades.
Engulf & Devour learns of the project, and try to sabotage it by sending voluptuous nightclub sensation, Vilma Kaplan, to seduce Funn. He falls for her, but returns to drinking when he learns that she was part of a scheme. He buys a huge bottle of liquor and drinks himself into a stupor, surrounded by fellow "winos". But Kaplan has genuinely fallen for Funn, and refused Engulf & Devour's money; she helps Bell and Eggs find him and restore him to sobriety.
The film is completed, but the only copy is stolen by Engulf & Devour just before its theatrical premiere. Kaplan stalls the audience with her nightclub act, while Funn, Eggs and Bell successfully steal the film back. They are cornered by Engulf & Devour's thuggish executives, but use the exploding Coke machine they encountered earlier to attack and subdue them. Lacking a separate spool to rewind the film, Eggs winds the film around his own body and upon returning to the theater he has to be rushed to the projection booth to show it.
The film is a huge success with the audience, which erupts with over-the-top applause. The studio is saved, and Funn, Bell, Eggs, Kaplan and Chief celebrate, as an onscreen caption identifies the film as a "true story".
Silent Movie feels like a throwback to this earlier era, despite using color and other up to date techniques.[4] As a film about filmmaking, Silent Movie also parodies "Hollywood deal-making".[4] Cowriter Ron Clark was previously the producer of The Tim Conway Comedy Hour, while Rudy De Luca and Barry Levinson were writers for The Carol Burnett Show. Unsurprisingly, the humor of Silent Movie would not be out of place in a sketch comedy.[4] Henry Jenkins points out that for Brooks, the decision to make a silent comedy represents an allusion to an earlier era of his career. He used to be a writer for Your Show of Shows, a show that included pantomime segments and parodies of silent films. Television audiences of the 1950s were familiar with the silents through their broadcast on late night television.[5]
The film features an unflattering portrayal of the film industry. Big Picture Studios' front gate sign boasts of the multimillion-dollar scope of their films, never mentioning their quality. The film project is greenlit not on the merits of its script, but solely on the drawing power of the movie stars attached. Executives cannot tell good film footage apart from bad, while the "Current Studio Chief" is one box-office bomb away from losing his position. The studio is under threat of a takeover by a "soulless" conglomerate. The movie stars are portrayed as vain figures who flaunt their wealth. The moviegoing audience is portrayed as fickle and unpredictable.[4] Villainous "Engulf & Devour" is a parody of real-life conglomerate Gulf and Western Industries, which had acquired Paramount Pictures.[4] The film also parodies corporate executives as essentially interchangeable yes-men, following the whims of their boss.[4]
The logo of Big Picture Studios is a parody of the MGM lion. It depicts the Studio Chief (Sid Caesar) as a braying donkey.[4] Liza Minnelli appears in a scene that makes no use of her dancing talents. Writer Robert Alan Crick, author of The Big Screen Comedies of Mel Brooks (2002), points out that the part could have easily been played by any well-known actress of the 1970s, with no apparent difference.[4] The film was the first notable acting role for Brooks, who was previously limited to offscreen voiceovers and short cameos.[4]
Sound is a big factor in the film's humor. For instance, when a scene showing the New York City skyline begins with the song, "San Francisco", only to have it come to a sudden stop, as if the musicians realize that they are playing the wrong music. They then go into "I'll Take Manhattan" instead. One joke makes use of the difference between the expressive gestures of silent cinema and those used in guessing games, such as charades. A secretary attempts to explain to the Studio Chief that Funn has a drinking problem, by pantomiming an uplifted bottle. Her boss misunderstands, figuring that Funn sucks his thumb.[5] Another scene with the Studio Chief pays homage to slapstick; the Chief proclaims slapstick to be dead, then his chair flips backwards, and sends him sliding across the room in it. He slams his head, with the sound of a bell ringing. The humor of the scene derives from the combination of the image and the unlikely sound.[5] Many of the gags of the film actually depend on careful synchronizations of sound and image. For example, one sequence has Feldman tossed about between elevator doors. It is set to the sounds of a pinball machine.[5]
Other gags are delivered through intertitles. For example, in a meeting of Engulf & Devour, an underling whispers something in the ears of his boss. The intertitles report: "whisper...whisper...whisper". The boss fails to understand, forcing the man to shout. In response the intertitle is written in all caps: "YOUR FLY IS OPEN".[5]
Marcel Marceau reprises his "walking into the wind" routine while trying to lift a phone. He then shouts his, and the film's only spoken word: "Non!".[5] When the Studio Chief asks what was his answer, Mel Funn cowardly replies that he doesn't understand French. The first part of the mime satire is that the mime actually has a door that he strains to open; he actually has a strong wind he is struggling against, and he actually has a telephone that he picks up.
Reception
On Rotten Tomatoes, the film has an approval rating of 82%, based on 28 reviews, with an average rating of 7/10. The critical consensus reads: "Stylistically audacious and infectiously nostalgic for the dawn of cinema, Silent Movie is another comedic triumph for Mel Brooks... now shush."[6] On Metacritic, the film has a score of 75 out of 100, based on reviews from 7 critics.[7]
Roger Ebert of the Chicago Sun-Times gave the film four stars out of four, and called it "not only funny, but fun". He cited as positive elements the ability of Brooks to do anything for a laugh, and the world of his films, in which everything is possible. He stated that Brooks took "a considerable stylistic risk" that he managed to pull off "triumphantly". He considered the film equal in comedic ability to Blazing Saddles, superior to Young Frankenstein, and inferior to The Producers.[8][9] He also praised the film for offering an encyclopedia worth of visual gags, both old and new.[9]
Vincent Canby of The New York Times wrote that the film can be enjoyed as "a virtually uninterrupted series of smiles", but "doesn't contain a single moment that ever seriously threatens to split the sides".[10]
Variety wrote, "Considering the pitfalls, the brisk 86-minute pic works surprisingly well."[11]
Gene Siskel of the Chicago Tribune gave the film three stars out of four, and wrote that it offered "a number of laughs", and felt that the unbilled cameos were as "refreshing as they are brief".[12]
Charles Champlin of the Los Angeles Times wrote, "Some of the bits and pieces work better than others, but so many work so clownishly, zanily, idiotically well that 'Silent Movie' is certain to have the year's noisiest audiences."[13]
Gary Arnold of The Washington Post called the film "a misbegotten but tolerably amusing novelty item".[14]
It earned North American rentals of $21,240,000.[15]
The DVD contains audio tracks in English, Spanish, and French, even though the film's only spoken line, "Non" (French for "No"), sounds almost identical in all three languages. The DVD also includes English subtitles.
Blazing Saddles is a 1974 American satirical postmodernist Western black comedy film directed by Mel Brooks, who co-wrote the screenplay with Andrew Bergman, Richard Pryor, Norman Steinberg and Alan Uger, based on a story treatment by Bergman. The film stars Cleavon Little and Gene Wilder. The film received generally positive reviews from critics and audiences, was nominated for three Academy Awards and is ranked number six on the American Film Institute's 100 Years...100 Laughs list.
The Keystone Cops are fictional, humorously incompetent policemen featured in silent film slapstick comedies produced by Mack Sennett for his Keystone Film Company between 1912 and 1917.
Melvin James Brooks is an American actor, comedian, filmmaker, songwriter, and playwright.
Joseph Frank "Buster" Keaton was an American actor, comedian and film director. He is best known for his silent films during the 1920s, in which he performed physical comedy and stunts with a stoic, deadpan expression that became his trademark and earned him the nickname "The Great Stone Face". Critic Roger Ebert wrote of Keaton's "extraordinary period from 1920 to 1929" when he "worked without interruption" as having made him "the greatest actor-director in the history of the movies". In 1996, Entertainment Weekly recognized Keaton as the seventh-greatest film director. and in 1999 the American Film Institute ranked him as the 21st-greatest male star of classic Hollywood cinema.
Liza May Minnelli is an American actress, singer, dancer, and choreographer. Known for her commanding stage presence and powerful alto singing voice, Minnelli is one of the very few performers awarded a non-competitive Emmy, Grammy, Oscar, and Tony (EGOT). Minnelli is a Knight of the French Legion of Honour.
Marcel Marceau was a French mime artist and actor most famous for his stage persona, "Bip the Clown". He referred to mime as the "art of silence", performing professionally worldwide for more than 60 years.
Cabaret is a 1972 American musical period drama film directed by Bob Fosse from a screenplay by Jay Allen, based on the stage musical of the same name by John Kander, Fred Ebb, and Joe Masteroff, which in turn was based on the 1951 play I Am a Camera by John Van Druten and the 1939 novel Goodbye to Berlin by Christopher Isherwood. It stars Liza Minnelli, Michael York, Helmut Griem, Marisa Berenson, and Joel Grey. Multiple numbers from the stage score were used for the film, which also featured three other songs by Kander and Ebb, including two written for the adaptation.
History of the World, Part I is a 1981 American comedy film written, produced, and directed by Mel Brooks. Brooks also stars in the film, playing five roles: Moses, Comicus the stand-up philosopher, Tomás de Torquemada, King Louis XVI, and Jacques, le garçon de pisse. The large ensemble cast also features Sid Caesar, Shecky Greene, Gregory Hines, Charlie Callas; and Brooks regulars Ron Carey, Dom DeLuise, Madeline Kahn, Harvey Korman, Cloris Leachman, Andreas Voutsinas, and Spike Milligan.
Behind the Screen is a 1916 American silent short comedy film written by, directed by, and starring Charlie Chaplin, and also starring Eric Campbell and Edna Purviance. The film is in the public domain.
Silent comedy is a style of film, related to but distinct from mime, invented to bring comedy into the medium of film in the silent film era (1900s–1920s) before a synchronized soundtrack which could include talking was technologically available for the majority of films. Silent comedy is still practiced, albeit much less frequently, and it has influenced comedy in modern media as well.
Radioland Murders is a 1994 American comedy thriller film directed by Mel Smith and executive produced by George Lucas. Radioland Murders is set in the 1939 atmosphere of old-time radio and pays homage to the screwball comedy films of the 1930s. The film tells the story of writer Roger Henderson trying to settle relationship issues with his wife Penny while dealing with a whodunit murder mystery in a radio station. The film stars an ensemble cast, including Brian Benben, Mary Stuart Masterson, Scott Michael Campbell, Michael Lerner, and Ned Beatty. Radioland Murders also features numerous small roles and cameo appearances, including Michael McKean, Bobcat Goldthwait, Jeffrey Tambor, Christopher Lloyd, George Burns, Billy Barty, and Rosemary Clooney.
A Matter of Time is a 1976 American-Italian semi-musical fantasy film starring Liza Minnelli and Ingrid Bergman, directed by Vincente Minnelli. The screenplay, by John Gay, is based on the novel The Film of Memory by Maurice Druon. The fictional story is based loosely on the real life exploits of the infamous Italian eccentric, the Marchesa Casati, whom Druon knew during her declining years in London while he was stationed there during World War II. The film marked the first screen appearance for Isabella Rossellini, the last for Charles Boyer, and it proved to be Vincente Minnelli's final project.
Jules White was an American film director and producer best known for his short-subject comedies starring The Three Stooges.
The World's Greatest Lover is a 1977 American parody film directed, written by and starring Gene Wilder, and co-starring Carol Kane and Dom DeLuise. It is a tribute/spoof of classic silent comedies and "old Hollywood" of the 1920s, specifically the popularity of romantic icon Rudolph Valentino.
Lucky Lady is a 1975 American comedy-drama film directed by Stanley Donen and starring Liza Minnelli, Gene Hackman, Burt Reynolds and Robby Benson. Its story takes place in 1930 during Prohibition in the United States.
Won Ton Ton, the Dog Who Saved Hollywood is a 1976 American comedy film directed by Michael Winner, and starring Bruce Dern, Madeline Kahn, Teri Garr and Art Carney. Spoofing the craze surrounding Rin Tin Tin, the film is notable for the large number of cameo appearances by actors and actresses from Hollywood's golden age, many of whom had been employees of Paramount Pictures, the film's distributor.
Shanks is a 1974 American surrealist horror film about a puppeteer able to manipulate dead bodies like puppets. Mime Marcel Marceau, in his first major film role, plays the titular Malcolm Shanks. It was the last film directed by producer-director William Castle.
Hollywood Cavalcade is a 1939 American film featuring Alice Faye as a young performer making her way in the early days of Hollywood, from slapstick silent pictures through the transition from silent to sound.
Harry Ritz, was an American comedian and actor. He was the youngest of the Ritz Brothers.
American comedy films are comedy films produced in the United States. The genre is one of the oldest in American cinema; some of the first silent movies were comedies, as slapstick comedy often relies on visual depictions, without requiring sound. With the advent of sound in the late 1920s and 1930s, comedic dialogue rose in prominence in the work of film comedians such as W. C. Fields and the Marx Brothers. By the 1950s, the television industry had become serious competition for the movie industry. The 1960s saw an increasing number of broad, star-packed comedies. In the 1970s, black comedies were popular. Leading figures in the 1970s were Woody Allen and Mel Brooks. One of the major developments of the 1990s was the re-emergence of the romantic comedy film. Another development was the increasing use of "gross-out humour".
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