The Producers, nineteen years later.

"Keep it Gay, Keep it Gay, Keep it Gay." - Roger De Bris, et al.

In 2001, Broadway was taken by storm with the success and popularity of the hit musical "The Producers". Garnering 15 Tony nominations and claiming 12 Tony awards, the three of which they couldn't win because they had multiple nominations for best actor and featured actor. (Technically, Nathan Lane accepted the Tony on behalf of himself and Matthew Broderick, and that was more than a little heartwarming.)

For those uninitiated, like I was before: The story follows a failing producer, Max Bialystock (Nathan Lane) and his accountant-turned-producer Leopold "Leo" Bloom (Matthew Broderick) as they go out to produce the worst musical ever as Leo Blo0m realized that they could make more money with a flop rather than a hit (because they don't have to pay the backers or something like that). Or as succinctly summarized by Max Bialystock:

Step 1: Get the worst play ever written.
Step 2: Get the worst director in town to direct the musical.
Step 3: Raise the 2 Million Dollars (1 for Leo, and 1 for Max) 
Step 4: Hire the worst actors in town.
Step 5: Open on Broadway, immediately close, take the 2 million dollars, and head on out to Rio.

So in terms of plot, it's not the most complicated in the world. Just like a few other musicals, it's not the destination but the journey and it is one unique kind of journey. Everything, the eccentric and borderline nazi writer, the Gay director and his orgy of a production team, a young Swedish lady who isn't scared to flaunt her bits (and compose a song about a guy catcalling her). All in one, messy package.

There's no doubt that the music here is wonderful, but more than the music. I would like to examine the theme of the musical and the story that drives the plot. Because, as much as there's now always a soft spot in my heart for "Keep it Gay", and its unsingable counterpart "Springtime for Hitler" the music is here to set up a facade if you will. That I think obscures the more, compelling part of the story more than just the simple music that would make you dance along, even if you can't.

I don't know if it's because of the conservative culture of the society I live in, I got uncomfortable when Ulla (she has a longer first name, and no last name). Although it should be because this scene specifically satirizes the Casting Couch. The culture in Hollywood, Bollywood, and a sizeable amount of corporate offices where women are given roles in movies, and such because of sexual favors given by the party that benefits from the role. That's when it sank into me that it's supposed to be uncomfortable. The song is all handy-dandy, happy-tappy, whatever, and the like but behind the mask of joy is a hidden mask of sadness. That is the reality of what's happening.

Maybe at the time, it wasn't true. I am not too sure about the social climate and social tension in the air, but certainly, it rings like there is something wrong with our today when we openly accept what's happening in the musical. We root for the leads because they're likable. We enjoy their gags, their chemistry, and such. Openly, ignoring the fact that the two leads are blatantly fraudsters.

I do suggest you give this a watch if you haven't. By no means is this a family show but you should watch it, then watch it again. The first one for entertainment, enjoy the music then the next one, do your research and think critically while watching. View this as a social commentary of things that were culturally relevant at the time, resonated, and is culturally relevant to the people living during 2001.

PS. If you can get your hands on a broadway version of this watch that instead of the movie. Some of the songs they cut out in the movie were great. Then after watching that, send it to me so I can watch the broadway one.

Peace, love, and more money from little old ladies.