As a theater nerd, and a Mel Brooks fan, I was intrigued when I saw this movie on Netflix streaming. I added it to my list and forgot about it. One night, I couldn't find anything to watch, so I decided to stop procrastinating and finally watch the movie. And I was not disappointed. It's not as outrageous as "Blazing Saddles" or "Spaceballs". It's more along the lines of "Young Frankenstein" or "the Producers" where the story is just as important as the jokes. To be honest, I didn't know this was a remake until I saw people saying it was one online. So, I won't compare it to that film. I'm actually shocked that people don't mention this movie when talking about World War II movies. They always focus on the ones about Jewish people, like "Boy in the Striped Pajamas" and "Diary of Anne Frank", not that that's a bad thing, I mean Jewish people were one of the bigger targets. But this one brings up the fact that it wasn't just Jewish people being hauled off to concentration camps. One character is homosexual, and Mel Brooks's character mentions gypsies being taken too. And I appreciate that. The comedy is brilliant. Some jokes are a hit and miss for the causal viewer, but if you know a little bit about theater or World War II, then you should get most of the jokes. In fact, I can see where Brooks got the idea for some of the songs in "the Producers" Broadway show, like "Heil Myself", "It's Bad Luck to Say Good Luck", and a few others. Also, I started laughing my butt off when Christopher Lloyd entered the film. "Back to the Future" is my favorite movie of all time, and Christopher Lloyd's character is one of my favorites. I didn't even know he was in this movie until I saw his name in the opening credits. But as soon as he entered, I was giggling like a maniac. Overall, if you enjoy Mel Brooks, theater, or World War II movies, definitely give this a watch.

This is an unnecessary but not displeasing remake of Ernst Lubitsch's 1942 film, which is an undisputed classic (and one of my own all-time favorites). It turned out very faithful to the original: wisely, Brooks opted not to spoof what was already a black comedy – this may have had something to do with his decision not to write and direct the film himself.The fast-moving plot still works beautifully, though the jokes tend to fall flat – since they don't have the same immediacy of the wartime years, while the level of acting is far below that of the 1942 version. The remake adds sentimentality and the unfortunate inevitability of a gay stereotype; all in all, however, Brooks' earlier lampoon of Nazism in the form of the "Springtime For Hitler" set-piece in THE PRODUCERS (1968) was much more effective. There are, nonetheless, a couple of good songs here – while the original's gem of a final gag involving Hitler has been replaced by an equally priceless one.As I said, the leads are no match for Jack Benny and Carole Lombard from the 1942 version (and are overage to boot) – though it was certainly nice to watch real-life couple Brooks (who, unsurprisingly, gets to double as both Professor Siletsky and Hitler) and Anne Bancroft playing alongside each other for once. Still, Jose' Ferrer fills the old Stanley Ridges role more than adequately…but, then, Charles Durning makes for a poor substitute to Sig Rumann in the all-important role of Colonel "Concentration Camp" Erhardt (amazingly, Durning's rather forced performance here was nominated for an Oscar!).

Actually, when interviewed about this movie, Mel Brooks said it was an homage to Jack Benny. And if you look, the Bronskis live on Kubelsky Street, Benny Kubelsky is Jack Benny's real name. There are many other touches that also show Brooks' love for the original. Anne Bancroft is a true treat. Her comedic talents shine, she was truly a rare actress, and will be missed.It was well done, with Mel Brooksian flair, and respectful of the original. I won't add comments about the acting, there are so many pros and cons at this point, one more won't make a difference. But if you have some free time, see BOTH of the movies. It's not sacrilege to like them both.

TO BE OR NOT TO BE Aspect ratio: 1.85:1Sound format: Dolby Stereo1939: As the Nazi's invade their homeland, a humble Warsaw theatre troupe stages a daring escape after stumbling on a Gestapo plot to kill members of the Polish resistance.Whilst the fondly-remembered Ernst Lubitsch original was actually filmed during wartime (1942), at a point when the outcome of the conflict was still uncertain, this updated vehicle for Mel Brooks has no such edge, but Alan Johnson's fast-paced remake at least preserves the elements of comedy and drama which made the earlier film so potent. There aren't many belly laughs to be had from the low-key screenplay (co-written by Thomas Meehan and Ronnie Graham), and the Nazi caricatures are fun without being especially funny (Charles Durning was Oscar-nominated for his role as bumbling Gestapo officer 'Concentration Camp' Erhardt), but the film offers an upbeat mixture of thrills and frivolity, and a superb cast of experienced players take turns stealing the limelight from leading player Brooks (Anne Bancroft has a ball as Brooks' duplicitous wife, easing her marriage blues by encouraging a half-innocent liaison with handsome airman Tim Matheson, who's been assigned by British Intelligence to foil a dastardly plot initiated by double agent Jose Ferrer). As in the original, the movie portrays the Nazi threat in a comic manner whilst constantly reminding viewers of the deadly reality which underpins the narrative, and while the scenario is fast-paced, funny and exciting in equal measure, it's also surprisingly respectful of history. Johnson's unfussy direction keeps things moving along nicely, and production values are efficient throughout.