Mel Brooks As Jewish Comedian Essay Research

Mel Brooks As Jewish Comedian Essay, Research Paper

Mel Brooks’s membership in the elite club of Jewish comedians is essentially

impossible to dispute. The question is whether or not his comedy is atypical.

Satirizing Jewish history and klutzy old Jewish men is normal for Jewish comedy.

However, "Don’t be stupid, be a smarty, come and join the Nazi party,"

is something that you would not expect to hear in typical Jewish comedy (The

Producers). Defined broadly, there are two forms which Mel Brooks’s Jewish humor

takes. The first form is to discuss specifically Jewish topics in a funny way.

This is evident in The Producers and in the Inquisition scene from History of

the World, Part I. The other form is to use certain aspects of Judaism for

comedic value. This form, is typically used by Brooks’ as a means for a quick

laugh as opposed to a major source of plot definition, and is most apparent in

such scenes as that with the Yiddish-speaking Indian in Blazing Saddles. While

exploring Brooks’s types of Jewish humor, this paper will limit its scope. Only

four of Brooks’s films will be discussed in this paper-The Producers, Blazing

Saddles, History of the World, Part I, and To Be or Not To Be. These films were

chosen because the quantity of Jewish content in all of them is considerably

more than in his other films such as Young Frankenstein or Silent Movie. The

four films chosen do an excellent job of portraying the complete range of the

types of Jewish-related humor, which Brooks uses. To understand Mel Brooks

identity as a specifically Jewish comedian it is important to understand how

Jewish he actually was. Melvin Kaminsky was born as the youngest of four

brothers in a crowded New York City apartment to Kitty and Max Kaminsky. He grew

up in a very Jewish area were on "Saturdays, the shops were closed, the

pushcarts parked, and Yiddish replaced with Hebrew in over seventy orthodox

synagogues." However, Brooks himself spent his Saturdays enjoying matinees

at the Marcy Theater. He married a non-Jewish woman and allowed his son, Max, to

be baptized only as long as he was allowed to have a bar-mitzvah. When asked by

the media if he wanted his wife to convert he replied "She don’t have to

convert. She a star!" (Yacowar 10-14). Before discussing the films, it is

crucial to identify a recurring theme in Brooks’s work-Germans and, more

specifically, Nazis. He had a brief military career in World War II with very

little combat experience, and he actually ended up being the entertainment

coordinator for the army. Yacowar analyzes Brooks’ later feelings towards

Germans as "subconscious frustration" because of his inability to

actually fight the Nazis (Yacowar 17). In an interview he was asked about his

obsession with Germans, and he replied: Me not like Germans. Why should I not

like Germans. Just because they’re arrogant and have fat necks and do anything

they’re told as long as it is cruel, and killed millions of Jews in

concentration camps and made soap out of their bodies and lamp shades out of

their skins. Is that any reason to hate their f-king guts. (Yacowar 32) Brooks

has mocked Germans in various works such as in Your Show of Shows and on the

Carl Reiner and Mel Brooks at the Cannes film festival audio recording.

Regardless, of the origin of his interest with Nazis, if one looks at enough of

his work, one cannot help but notice that this theme is an obsession for Brooks

(Yacowar 34-35, 48). Mel Brooks made his first feature film, The Producers, in

1967. It is about a Jewish Broadway producer (Max Bialystock) who convinces his

Jewish accountant (Leo Bloom) to finance a guaranteed to fail play with the idea

that they would take the profits and run to South America. The guaranteed to

fail play, "Springtime for Hitler" turned out to be a huge success.

The two main characters both represent completely different Jewish stereotypes

and the third area of Jewish interest in the film is the role of Germans both in

the play and the ex-Nazi author, Frank Liebkind (Altman 39). Max Bialystock

(played by Zero Mostel) is obviously not a first generation American because of

his name and his accent. Although he never does anything specifically Jewish, he

is still Jewish so it is relevant to look at his relationship to Jewish

stereotypes. In his book, Telushkin discusses the tradition of having big and

lavish bar mitzvahs, he say’s "that the Jewish tradition has few curbs to

halt such excesses"(74). It is interesting to see how Bialystock chooses to

live in almost poverty. Although he is so poor that he say’s "Look at me

now-I’m wearing a cardboard belt," he also wears a reasonably nice jacket,

has a leather coach, and keeps every old lady’s picture in a decent frame. Later

in the film, when he gets a lot of money, he spends it on a chauffeure

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