Blazing Saddles Tagged Articles at Cinematical
Classic Cameos: Count Basie, 'Blazing Saddles'
Filed under: Comedy », Music & Musicals », Fandom », Trailers and Clips »
Jazz fans may appreciate Count Basie more than the rest of us, but the jazz pianist's cameo in Blazing Saddles is pretty funny even if you don't know much about him. It's all part of the 1974 Mel Brooks comedy's shtick that plays with conventional aspects of Hollywood films, culminating in the sidesplitting climactic sequence that blends movie sets, pie fights and Grauman's Chinese Theatre.The Count Basie cameo occurs fairly early in Blazing Saddles. Bart (Cleavon Little) is headed to the Old West town of Rock Ridge as the new sheriff, dressed to the nines. Count Basie's signature jazz number, "April in Paris," plays in the background, highlighting Bart's urbane demeanor. And as Bart rides across the prairie, he encounters ... Count Basie and his orchestra, performing "April in Paris" right there on the frontier. It's one of the more subtle laughs in the film, but it never fails to amuse me, no matter how many times I've seen it. It also provides a hint of the more outrageous anachronisms and spoofs that populate the rest of Blazing Saddles. Check out the clip after the jump.
The Greatest Pie Fights in Movies
Filed under: Fandom », Lists »
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Who doesn't love pie? And more importantly, who doesn't love pie in the face? Well, as long as it's not YOUR face. (Though of course you can balance out the humiliation of being served -- so to speak -- with the knowledge that what you were being served was dessert goodness.)
The history of pie-fighting in movies is vast and varied, ranging from the simple to the sublime. Oh heck, who am I kidding? It's all just a messy, slapstick good time. Take a look at these famous movie pie fights, and then let us know: What's your favorite? Which ones did we miss? If you were to get hit in the face with a pie, what type would you prefer? And ... are you hungry yet?
RIP: Reel Important People -- Week Ending 8/16/08
Filed under: Obits »

Last weekend we lost two great stars, actor/comedian Bernie Mac (1957-2008) and Oscar-winning songwriter/actor Isaac Hayes (1942-2008), who both appear in the upcoming Soul Men (pictured above), out this November. For more on their respective deaths, see Erik's and William's posts.
Actor and playwright George Furth (1932-2008) died August 11 in Santa Monica, California. I'll always remember him best as the anti-Cannonballer spoilsport Arthur J. Foyt in The Cannonball Run. He also appears memorably in Butch Cassidy and the Sundance Kid, Blazing Saddles and Shampoo. (AP)
Where would the montage sequence be without Cyndi Lauper's "Girls Just Want to Have Fun"? And what about the movie that borrowed the title, Girls Just Want to Have Fun? Robert Hazard (1948-2008), who wrote the tune, died August 5 in Boston. (Variety)
"Love means never having to say you're sorry." This famous line came to us partly by way of Howard G. Minsky (1914-2008) who received an Oscar nomination for producing Love Story. He died August 10 in Palm Beach, Florida. (Variety)
Bernie Brillstein (1931-2008), formerly half of production team Brillstein-Grey Entertainment, executive produced Ghostbusters, Ghostbusters II, The Blues Brothers, Spies Like Us, The Cable Guy, Bulletproof, Happy Gilmore, Summer Rental, Dragnet, Up the Academy, Neighbors, Doctor Detroit, Continental Divide, The Celluloid Closet, What Planet Are You From? and Run Ronnie Run and produced The Replacement Killers and Jiminy Glick in Lalawood. He died of chronic pulmonary disease August 7, in New York City. (NY Times)
Oscar-nominated record producer Jerry Wexler (1917-2008), who was portrayed by Richard Schiff in the movie Ray, died of congenital heart disease August 15, in Sarasota, Florida. He also worked on soundtracks for The Wiz, The Cotton Club and Pretty Baby (for which he received the Academy Award nom) and co-wrote the Aretha Franklin tune "(You Make Me Feel Like) A Natural Woman". (AP)
Cinematical Seven: Deliberately Offensive (But Fun) Comedies
Filed under: Comedy », Cinematical Seven »

"Are you okay?"
"I'm disgusted and repulsed and ... I can't look away."
--Clerks II
After watching Harold and Kumar Escape from Guantanamo Bay with me, my husband remarked, "That may be the most deliberately offensive film I've seen." However, he also pointed out that he'd been laughing his head off most of the time. My first thought was that if the Harold and Kumar sequel was the most offensive thing he'd seen in awhile, maybe he needed to go to QT Fest with me next time, or watch some of those bizarre midnight movies at Alamo Drafthouse. (And what, did he forget we saw Borat together last year?)
But afterwards, I started wondering ... how many intentionally offensive comedies have we seen and loved? I'm not thinking about provocative or transgressive films that try to make you stop and think about your life. I'm talking about movies that, when they succeed, evoke that amazing moment in which your jaw has plummeted to the floor in disbelief as a bubble of laughter starts to force its way out of you and will send you to the floor along with your dropped jaw, in hysteria. I'll put up with revolting, sacrilegious, and downright repellent content in a film if it makes me laugh hard enough. Can I think of seven movies that meet such a high standard for offensive comedy? It's more like seven times seven, and difficult to pick only a few of my favorites. Feel free to share any movies that you think I neglected to include -- bear in mind that in some cases, I simply didn't like the movie enough to get past the offensive bits (the Jackass films), or although I liked the movie, wasn't offended (The Aristocrats).
Cinematical's Friday Night Double Feature: Old-School Comedy with Mel Brooks
Filed under: Classics », Comedy », Fandom », Home Entertainment », Trailers and Clips », Friday Night Double Feature »
These days, Judd Apatow is the man behind the laughs. He has been comedy gold lately, reinvigorating the struggling world of comedic cinema and offering a selection of laughs you can rely on. It's nice to be able to go to a "funny" flick and be sure that you'll at least laugh a few times, instead of head out for hi-jinx and spend an hour and twenty minutes in awkward silence, desperately yearning for even the slightest chuckle.Thirty-something years ago, the laugh man was Mel Brooks. He brought the comedy, and he even brought the art. How many comedic filmmakers today would dare to make a silent movie (aside from Guy Maddin), or do the world of Frankenstein comedic justice? I've gushed over the wonder that is Young Frankenstein before, so today, I'm leaving it up to some other blast-to-the-past spoof comedy -- Blazing Saddles and The History of the World: Part I.
Remembering Movie Poster Artist John Alvin (1948-2008)
Filed under: Movie Marketing », Obits »
As the son of an illustrator, I grew up appreciating movie poster artists more than probably do most movie geeks. And John Alvin, who passed away last Wednesday, was one of the artists I idolized. Alvin is considered one of the most important poster artists of the past 35 years, and it's no wonder. From E.T. to Gremlins to Blade Runner to His name may not be as familiar as that of Drew Struzan, another well-known movie poster designer whose work is quite similar. And it isn't that strange to (as I did often in my youth) confuse the work of the two illustrators, both of whom attended the same school as my father, Pasadena's Art Center College of Design, and both of whom worked for many of the same clients and for many of the same films. But there's no doubting that Alvin, who got his start with the poster for Mel Brooks' Blazing Saddles and worked on many of Brooks' film campaigns from then on, was a distinctly innovative artist.
In addition to designing original posters for more than 135 films, Alvin produced art for many special edition and anniversary releases, as well as collector's art for popular movies such as Star Wars, The Lord of the Rings and Pirates of the Caribbean. There's probably a good chance that, if you're a real movie geek, you have something of his hanging up in your room or home. I think the closest thing for me is a Blade Runner t-shirt on which his poster art appears. And, of course, I can see a bunch of his talent clearly when looking over at my DVD collection*.
For a good list of his work, check out the filmography on his Wikipedia page, and for a fairly comprehensive look at images of his posters, check out this fan site.
*I just realized that the poster for The Goonies that I'm most familiar with, and which is on my DVD, is the one by Drew Struzan. Oops.
Jeffrey M. Anderson's 400 Screens, 400 Blows - The West Is Yet to Come
Filed under: Critical Thought », Box Office », Brad Pitt », Columns », 400 Screens, 400 Blows », Cinematical Indie », Western »

Did the Western make a comeback in 2007, with 3:10 to Yuma (371 screens), The Assassination of Jesse James by the Coward Robert Ford (294 screens), and last spring's Seraphim Falls? That's a tough question, but the better question would be: did it ever go away? Those three movies earned a lot of attention this year, and it showed that, if nothing else, filmmakers and actors are eager to make Westerns once again, as they did back in the 1950s. How much more of a indication do you need when Pierce Brosnan, Russell Crowe and Brad Pitt don cowboy hats and mount horses? Other actors, such as Matt Damon and Colin Farrell have suggested how much fun they had while making recent Westerns. Unfortunately, audiences don't seem so interested, and conversely, producers don't want to put up the money for actors to play if audiences don't want to share in the fun.
Director James Mangold told me that no studio would touch 3:10 to Yuma, and that he had to secure financing from a bank. It opened, happily, in the #1 box office slot, but after eight weeks, it has started to slide, and is still just shy of recapturing its $55 million budget. And this is a terrific, crowd-pleasing movie with a great performance by Crowe. It's directed with energy and clarity, with an innovative use of an authentic Western soundtrack. It has exciting gunfights and chases and escapes. And if aesthetes and elitists wish, they can see bonus allusions to Iraq in the film, even if they're not actually mentioned or hammered home. It's unpretentious in every way. (Paul Haggis could take a few notes from this movie.) So why has the box office slowed down so drastically?
RIP: Reel Important People -- February 12, 2007
Filed under: Obits »
Richard Curnock (1922-2007) - British actor who appears in Paradise. He died February 6, in Stratford, Ontario. (CBC) - Donfeld (1934-2007) - Oscar-nominated costume designer for Prizzi's Honor, Days of Wine and Roses, Tom Sawyer and They Shoot Horses, Don't They? His other credits include Spaceballs, Viva Las Vegas, The Great Race and the television series Wonder Woman. He had a brief stint as a set director in the mid-'70s. He died February 3, in Los Angeles (LA Times)
- Victor Griffin (c.1918-2007) - Singer, dancer and actor who appears in Annie. He died February 3, in Syosset, New York. (Variety)
- Griffith Jones (1910-2007) - British actor who appears in Olivier's The Chronicle History of King Henry the Fift with His Battell Fought at Agincourt in France, as well as The Wicked Lady and Miranda. He died January 30. (Telegraph)
- Frankie Laine (1913-2007) - Singer of the title songs to a number of westerns, including 3:10 to Yuma, Gunfight at the O.K. Corral and Blazing Saddles. He also appears in Blake Edwards' He Laughed Last and Bring Your Smile Along, as well as Meet Me in Las Vegas and Make Believe Ballroom. He died of complications from hip surgery February 6. (LA Times)
National Film Registry List for '06: Mel Brooks to James Brown
Filed under: Classics », Documentary », Drama », DIY/Filmmaking », Newsstand »
Every year the Library of Congress announces that it will shelter 25 films for posterity and here's the list for this year, from Variety. Joining the 450 films currently in the vaults are a range of pictures from features to documentaries. This year's pack includes the 1913 protest film Traffic in Souls, a very early American feature film with a then-stunning budget of $25,000. A film "so fast-moving and so packed with direct and veiled references to the vice trade that it's a wonder audiences could keep pace with it," comments ace silent film historian Kevin Brownlow.
More familiar inductees include recent hits like Blazing Saddles, sex, lies and videotape, Rocky and Halloween. Then you have classics like Notorious, and key works like The Big Trail by Raoul Walsh, The Last Command by Josef von Sternberg, the debut of Rouben Mamoulian, and the first Garbo-Gilbert picture Flesh and the Devil. The rarities are perhaps even more interesting: the early Chinese-American film The Curse of Quon Gwon and long-time experimental filmmaker and critic Jonas Mekas' Reminiscence of a Journey to Lithuania. A couple of the entries are performance films: St. Louis Blues (1929), a two-reeler that is the only existing film of Bessie Smith, seen singling the W. C. Handy song. And for more current relevance, the documentary The T.A.M.I. Show. with the late lamented James Brown performing "Night Train" and the Supremes doing "Where Did Our Love Go?" for purpose of comparison with The Dreams in Dreamgirls.
Vintage Image of the Day: Count Basie
Filed under: Comedy », Music & Musicals »

Composer and jazz bandleader Count Basie was born on this day in 1904. You can hear his performances in a number of movies -- not just Woody Allen fare like Hannah and Her Sisters, either, but a range of films including Pearl Harbor, Confessions of a Dangerous Mind, Get Shorty, and Malcolm X. He's also appeared briefly in various movies, from Stage Door Canteen in 1943 to the Jerry Lewis vehicle Cinderfella in 1960.
But when I think of Count Basie and movies together, the first thing that leaps to mind is his delightful cameo in the 1974 Mel Brooks comedy Blazing Saddles. You might remember the scene ... Bart (Cleavon Little), having been appointed Sheriff of Rock Ridge, rides to the town in his fancy new clothes, with his Gucci saddlebags, while swinging music plays in the background. And as he rides across the barren Old West, suddenly we see the source of the background music ... the entire Count Basie orchestra, dressed to the nines, in the middle of the sagebrush. Count Basie cheers on Bart as he rides by. Blazing Saddles contains a number of different types of humor, but I particularly like its surreal touches like the one mentioned above. Basie died in 1984 but I doubt we've heard the last of his music in films.









