There are some films in history that you can’t trust the critics. In fact, when you watch these movies, you don’t even bother to listen to the reviews. These movies don’t need reviews at all. For example, Stephen chow’s ‘A Chinese Odyssey’. For example, today we are going to talk about Blazing Saddles

“Blazing Saddles,” a new novel, was shot in 1974, when a western reached its peak, and a great deal of great work was made. So when Mel Brooks, 50 years old but still a junior in Hollywood, got the project, many didn’t think much of him. He had directed only one previously, “The Producers,” a half-successful production, but with The energy he had accumulated in television ” muggerhead “was one of his favorites), he still secured The final cut. As it turns out, this is almost the most crucial factor in determining the historical status of boy with a gun as it is today. Because a satirist like MEL Brooks can’t do anything without giving him enough freedom.

MEL Brooks has deftly turned Blazing Saddles into a satire, just as he did on muddle-heads and the producers, except this time he’s lampooning a complete genre, the western. Faced with an already flourishing treasure trove of western films, Brooks ACTS like an unruly child, using what is considered a treasure for its own use. The story is set in the western’s unbeatable cliche of “capitalist enclosure vs. resident/sheriff organization resistance,” and some scenes are even lifted straight from classic westerns (a church scene, for example, is borrowed from classic westerns like “High Noon”). But in Brooks’s hands, all the old trees are rejuvenated, and the remarkable thing is that they are not simply revived, but full of parody wisdom.

MEL Brooks has deftly turned Blazing Saddles into a satire, just as he did on muddle-heads and the producers, except this time he’s lampooning a complete genre, the western. Faced with an already flourishing treasure trove of western films, Brooks ACTS like an unruly child, using what is considered a treasure for its own use. The story is set in the western’s unbeatable cliche of “capitalist enclosure vs. resident/sheriff organization resistance,” and some scenes are even lifted straight from classic westerns (a church scene, for example, is borrowed from classic westerns like “High Noon”). But in Brooks’s hands, all the old trees are rejuvenated, and the remarkable thing is that they are not simply revived, but full of parody wisdom.

In the film, the insulting word “nigger” pops up 17 times from a white person’s mouth. That seemed like a violation of the law, according to warner bros., the investor at the time. It was the first mainstream Hollywood film to show farting, and there were scenes of unarmed beatings of old women and one-handed knockouts of a strong horse (all intended to be funny, of course, not violent). Yet the film has miraculously gained public acceptance since its release, and the black community has shown no signs of understanding MEL Brooks’s irony. Long live comedy. It is said that of all the ten thousand occasions and usages of the word “nigger”, only one is understood and accepted by all. MEL Brooks found it and hit it.

It’s the final 20 minutes that really make ” Blazing Saddles ” go viral, regardless of the fact that we are playing against the world and making no sense at all. When the audience thought the film was about to end in this derouched but not derouched state, MEL Brooks nudged the final line of film rules out of the way — the camera zoomed out into the crowd, and the studio house and tall smokestack appeared in the distance. Oh, the original is filming! The audience at the play suddenly understood. The ensuing plot is a torrent, drifting on both sides of the screen. The protagonists alternated between watching the film and being watched. No one could tell or care. At the highest level of ridicule, MEL Brooks is no longer playing jokes on westerns, but on the whole of Hollywood, the whole golden age of Hollywood. When people laugh themselves up in this self-mockery, a great but unrefined comedy classic completes its brilliant performance.

The film’s popularity among American fans is beyond imagination. Those who saw the fart scene in the cinema were shocked and shrieked. Since the version shown on TV later deleted many excessive laughing points along with the fart sound, some americans even turned out the video tape to enjoy the film with its full sound effect on the TV screen. Ordinary American fans mention this film, the classic lines are also open mouth, the scene is worthy of a poetry competition, and the Chinese love ” A Chinese Odyssey ” series is on a par. I’m even thinking that the name of the Simpsons’ boy, Bart, is coincidental with that of Bart.

TEN clips from BLAZING SADDLES.

Screen: ‘Blazing Saddles,’ a Western in Burlesque

‘Blazing Saddles’ at 40: A conversation with Mel Brooks