“A dream”: Mel Brooks on why ‘Top Hat’ is his favourite movie of all time
Mel Brooks‘ weird and wonderful mind has been making audiences laugh for generations. From his directorial debut in 1967’s The Producers, Brooks completely revolutionised the world of cinematic comedy, with films like Blazing Saddles and Young Frankenstein inspiring countless future performers to pursue the world of comedy and comedic acting. Brooks is, in essence, a comedian, but on a personal level, he is a true cinema obsessive.
So much of comedy is born out of tragedy, and Brooks’ childhood was certainly awash with enough tragedy to fuel his later comedy career. His father passed away from tuberculosis when Brooks was only two years old, leading a young Brooks to find that comedy was a way to deal with many of life’s problems – whether those problems be grief, bullying, or anything in between. Even during World War II, the future director found comedy an escape from the horrors he saw on a daily basis.
It is no surprise, therefore, that Brooks was a disciple of comedy films from a very young age. In the months and years following his military service, he herp-worshipped comedian Sid Caesar, who was a regular feature on both the television and silver screen. Eventually, Brooks would be granted a full-time writing job for the legendary performer, but his utter adoration for comedy acting stretches back much further than his role as a joke writer for Caesar.
After all, Brooks grew up in the 1930s, the golden age of Hollywood. As such, he was well-placed to witness some of the most iconic and influential comedy films of all time. One 1935 film, in particular, has always stood out as an enduring influence on the director. During a 2005 interview, he shared, “My favourite film of all time is the Fred Astaire-Ginger Rogers musical, Top Hat.” The film is one of Astaire’s very best, telling the tale of a tap dancer who performs in a show in London and tries to win favour with Ginger Rogers’ character.
Astaire was among the defining performers of Hollywood’s golden age, amassing a level of notoriety and fame that is virtually unheard of for a dancer. Throughout his life, Astaire showcased his multitude of talents in countless films, from Swing Time to The Towering Inferno, able to adapt himself to multiple different themes and settings. Top Hat is an undeniable highlight of his extensive filmography, at least in the mind of Mel Brooks.
Speaking about the appeal of Astaire’s performance in the classic film, Brooks shared, “With Astaire, there was no cutting. The number starts, two people are dancing. The camera can move in a little bit and move back, but there’s no cutting.” The director added, “We want to think it’s a dream, a fantasy.” It is true that Astaire often insisted on shooting his dance sequences in as few takes as possible, giving the final product a sense of authenticity, which is often lost in more modern productions.
The influence of Hollywood’s golden age, and Astaire in particular, is present throughout a lot of Brooks’ own filmography. From the musical-theatre themes of The Producers to the legendary ‘Puttin’ On the ‘Ritz’ sequence in Young Frankenstein, Brooks’ love of Astaire’s work is laid bare within his work.
Of course, Irving Berlin originally penned ‘Puttin’ On the Ritz’, but a recording by Astaire helped popularise the song and influence the scene in Young Frankenstein. Brooks’ endless creativity and lasting legacy within the film industry speak to his ability to draw from these childhood influences when creating some of his most beloved and original works.
