{"id":368,"date":"2026-06-26T04:17:02","date_gmt":"2026-06-26T04:17:02","guid":{"rendered":"https:\/\/cityflowjournal.com\/?p=368"},"modified":"2026-06-26T04:17:02","modified_gmt":"2026-06-26T04:17:02","slug":"all-hail-mel-brooks","status":"publish","type":"post","link":"https:\/\/cityflowjournal.com\/?p=368","title":{"rendered":"All hail, Mel Brooks"},"content":{"rendered":"
\n

No filmmaker better captures the spirit of America at its best than Mel Brooks. His life and work embody its can-do confidence and joyful exuberance, its promise as a melting-pot that welcomes all-comers with open arms.<\/p>\n

Read more Why Britain needs code-switchers<\/a><\/p>\n

Born 100 years ago this weekend, on a kitchen table in a Brooklyn tenement, just in time for the Depression and the golden age of American comedy, Melvin Kaminsky, the son of Polish and Ukrainian Jews, inherited a powerful love for life. He was raised by a single mother who worked a 10-hour shift in New York\u2019s garment district. (His father died when he was two.) Short, scrawny, and with a nose that someone once compared to \u201ca small mudslide\u201d, Brooks told Playboy<\/em> that he could hang around with older boys because \u201cthey were afraid of my tongue. I had it sharpened and I\u2019d stick it in their eye. I read a little more than they did, so I could say, \u2018Touch me not, leper!\u2019 \u2018Hey! Mel called me a leopard!\u2019 \u2018Schmuck! Leper!\u2019 Words were my equalizer.\u201d<\/p>\n

That\u2019s true of comedians in general. But it was Jewish ones who perfected the fine art of using wit \u2014 which Aristotle defined as \u201ccultivated insolence\u201d \u2014 as a weapon of defence. Don Rickles, Joan Rivers (born Molinsky), and Jackie Mason (Yacov Moshe Maza), also children of immigrants and contemporaries of Brooks, made their careers out of humor honed to a razor\u2019s edge over centuries in the Diaspora. (A typical Mason joke: \u201cAre there any Poles in the audience? No? There must be. They just don\u2019t understand the question.\u201d) A few years older than Rickles and Mason, Rodney Dangerfield (Jacob Cohen), \u201cMr I Can\u2019t Get No Respect\u201d, revealed the socially anxious underbelly of their aggressive routines. But Brooks, who at the age of nine told his uncle that he was headed not for the garment district but for show business, is cut from different cloth.<\/p>\n

Brooks can be as outrageous as anyone: The Producers<\/em>\u2019 vaudeville production \u201cSpringtime for Hitler\u201d made the film untouchable by major studios. Yet if his humour is distinctly Jewish \u2014 in Blazing Saddles<\/em>, he appears as an Indian chief who speaks Yiddish \u2014 it is also as big-hearted and self-assured as the country that gave him his break. Whether it was a natural inclination to gratitude, or serving his country at the Battle of the Bulge, or rising from poverty to the silver screen by way of the Borscht Belt, Brooks came to love America, and to reflect that love in his art.<\/p>\n

Consider Blazing Saddles<\/em>. Nothing captures the American belief in gritty individualism, justice, and a fair deal for the little guy more than the Western, where the white hats give the black hats what\u2019s coming before they ride off into the sunset. Brooks, whose writing team included the legendary comedian Richard Pryor, turns that idea into a piece of biting social commentary \u2014 one that condemns present-day racism while offering a hopeful vision of Americans\u2019 capacity to live up to the nation\u2019s ideals. The story\u2019s protagonist is Bart, a black convict played by Cleavon Little. As the opening credits roll, the title song informs us that Bart \u201cconquered fear and he conquered hate, \/ He turned dark night into day, \/ He made his blazing saddle \/ A torch to light the way.\u201d<\/p>\n

Blazing Saddles<\/em> doesn\u2019t exactly break the fourth wall, because there is none from the get-go. In one early scene, a boss taunts his chain gang of railway track-layers: \u201cWhen you was slaves, you sang like birds. Come on! How \u2019bout a good ole n****r work song?\u201d Backed by a chorus of black convicts, Bart sings a fine a capella version of the 1934 Cole Porter tune \u201cI Get a Kick Out of You\u201d, and then watches with amusement as the befuddled cowboy bosses \u2014 \u201cHold, it, hold it! What the hell is that shit?\u201d \u2014 dance like imbeciles while singing \u201cCamptown Races,\u201d a minstrel song that parodies slave music, to show what they had in mind. Taggart, who oversees the whole operation, comes riding up fit to be tied: \u201cWhat in the Wide Wide World of Sports is goin\u2019 on here? I hired you people to get a little track laid, not to jump around like a bunch a\u2019 Kansas City faggots!\u201d It\u2019s a brilliant (if unintended) reversal that foreshadows the plot as a whole \u2014 Taggart is as racist as anyone \u2014 in which bigots learn to respect, and even cherish, the objects of their former hatred.<\/p>\n

Like Huckleberry Finn<\/em>, an anti-racist book full of racial slurs, Blazing Saddles<\/em> doesn\u2019t have a mean bone in its body. In fact, it\u2019s a retelling of Twain\u2019s great American novel of friendship between outcasts, with Gene Wilder\u2019s Jim (a washed-up alcoholic gunslinger) in the role of Huck, and Bart in the role of Jim. These two characters \u2014 nothing but a lousy pair of deuces, socially speaking \u2014 become fast friends when Bart, who\u2019s been appointed sheriff of Rock Ridge by the state\u2019s attorney general in a scheme to seize their land, is greeted with open hostility by the town\u2019s all-white residents.<\/p>\n

But the pair ultimately win over the townspeople, setting up a genuinely democratic drama. They lead a popular coalition of Rock Ridge settlers, and black, Irish, and Chinese track-layers, to outwit a motley band of common criminals, Klansmen, Nazis, Hell\u2019s Angels, and (this being the year after the Yom Kippur War) Arabs on camels, paid for by the wealthy and powerful. In Blazing Saddles<\/em>, a classic tale \u2014 the triumph of the wily underdog against organized injustice \u2014 turns out to be equally Jewish and American. In the end, the townspeople beg Bart to stay on as sheriff, but he and Jim head for greener pastures. They get into a chauffeured limousine and drive west, toward the setting sun. It\u2019s a story of civic amity worthy of America\u2019s 250th, a reminder of national aspirations that are sorely in need of renewal.<\/p>\n

Read more In defense of data centers<\/a><\/p>\n

\u201cI\u2019m a serious human being who is a humorist,\u201d Brooks told Playboy<\/em>. \u201cThe greatest comedy plays against the greatest tragedy. Comedy is a red rubber ball\u2026 if you throw it against the hard wall of ultimate reality, it will bounce back and be very lively.\u201d Brooks\u2019 signature combination of edgy humor, deep generosity, and a tragicomic sensibility shaped by wide reading \u2014 Gogol, Conrad, Dostoevsky, Tolstoy \u2014 was already apparent in his first film, The Producers<\/em>, released in 1967. The protagonists are Max Bialystock (Zero Mostel), a Broadway producer, and Leo Bloom (again Gene Wilder), an accountant, whose name is a nod to the eponymous wandering Jew of Joyce\u2019s Ulysses.<\/p>\n

Many people think that it was in very bad taste for Brooks to make a film full of goose-stepping, Sieg-Heiling<\/em> characters in Nazi uniforms little more than 20 years after the Holocaust. Maybe so: but Brooks subtly indicates that he is by no means insensitive to Jewish suffering. Joyce\u2019s Leopold Bloom is targeted by Irish antisemites, while the Polish city of Bialystock was home to 50,000 Jews at the start of the Second World War; 800 were burned alive inside the Great Synagogue when the Germans torched it in 1941, while the rest died on the streets, in the ghetto, or at Treblinka.<\/p>\n

These hints had to suffice, and not just because the film is a comedy: American survivors just wanted to forget the past, and began speaking publicly about their experiences in the Holocaust only in the Seventies. But in 1967, Americans were fully prepared to ridicule the Nazis; the popular television series Hogan\u2019s Heroes <\/em>had been doing just that for two years. Little wonder \u201cSpringtime for Hitler\u201d brilliantly mocks the Third Reich by having a spaced-out acid-head perform the role of Hitler (did Brooks know that der F\u00fchrer was sustained by a steady diet of opiates, cocaine, and amphetamines?) and a black hipster that of \u201cLittle Joe\u201d Goebbels.<\/p>\n

Brooks\u2019 big heart is there again on full display in The Producers<\/em>. Bialystock talks Bloom into participating in his con of massively overselling shares in \u201cSpringtime for Hitler\u201d \u2014 a play so bad that he is convinced it will fail on its first night \u2014 to little old ladies he pretends to love. The scheme backfires, and both men are sent to prison. But neither the little old ladies, who attend their trial, nor Bloom, who seems to bear in himself all the anxieties of Jewish trauma have regrets. He explains that \u201cNo one ever called me Leo before\u2026 even in kindergarten they used to call me Bloom. I never sang a song before, I mean with someone else\u2026 This man, this man \u2014 this is a wonderful man.\u201d<\/p>\n

It\u2019s a plea for kindness and compassion that is all-too-rare in comedy today. That\u2019s because the world in which Brooks came of age no longer exists. His generation was educated in the school of hard knocks: first the Depression, then the war, with its triumphs and horrors. And if the slump taught self-reliance, that existential fight against the Germans and Japanese taught patriotism and civic responsibility. To many veterans, it revealed what really matters in life: family, friendship, community; gratitude and kindness. Brooks\u2019s distinctly American comedy \u2014 democratically capacious, high-spirited, goofy, magnanimous, tinged with Jewish pathos \u2014 perfectly expressed this sensibility.<\/p>\n

Shortly after the bicentennial, however, Americans began losing faith in their great experiment in ordered liberty. The schools stopped teaching civics; the idea of the melting-pot ceased to form young souls, and national pride declined. No longer united by common ideals and aspirations, our sense of humor has become smaller and more brittle. And with the reassertion of a wary tribalism, Brooks\u2019s marriage of Jewish and American comedy seems but a distant memory. In Blazing Saddles<\/em>, Sioux warriors attack a wagon train in which Jim (then a boy) and his family are travelling far in the rear, a wry comment on how black Americans were sent to the back of the bus in the Jim Crow south. Brooks, the Yiddish-speaking Indian chief, lets them go, marvelling \u201cThey darker than us! Woo!\u201d The scene, which wittily presents Jews as aboriginal Americans while emphasising their solidarity with black Americans during the civil rights movement, wouldn\u2019t work today. Some black Americans view Jews as oppressors, and few Jewish Americans still understand Yiddish. Like other Americans, Jews have increasingly embraced progressivism, which turns people into humorless scolds \u2014 especially when jokes contain offensive language. These developments have pushed Brooksian comedy to the brink of extinction.<\/p>\n

What remains in a world without humor is absurdity, the incongruity at the heart of any joke. But absurdity in itself, shorn of the meaning our common human endeavors and shared concerns bring to it, isn\u2019t funny. It can\u2019t lift us up, because it isn\u2019t going anywhere. Brooks is always going somewhere; his comedy is beloved because its honesty about who we are, and its hopeful vision of who we might be, satisfies our craving for authentic human meaning.<\/p>\n

Read more JD Vance: Our new relationship with Iran<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

No filmmaker better captures the spirit of America at its best than Mel Brooks. His life and work embody its can-do confidence and joyful exuberance, its promise as a melting-pot that welcomes all-comers with open arms. 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