Mel Brooks | 94 mins | TV | 15 / PG
Mel Brooks pays comedic tribute to Alfred Hitchcock — in case you can’t tell, the second credit is a prominent dedication — but those unfamiliar with the Master of Suspense’s output need not apply.
Brooks presents a largely Hitchcockian plot, though the clearest references come in a couple of sketches and one-liners. To be fair, there are several significant Hitchcock films I’ve still not seen, leaving the nagging sensation that some allusions and gags simply passed me by. On the other hand, maybe they just weren’t funny — I can’t remember many laughs that didn’t spring from a Hitchcock reference of some kind.
Indeed, whole chunks pass by without a laugh. At other times, bits that are clearly meant to be funny just don’t hit home (though I’m aware that, inevitably, they will for some people), while some gags are almost reassuringly familiar: a dramatic piece of music kicks in, causing characters to look around until they see a band in full swing has appeared nearby, for just one example.
Things pick up considerably in the second half, which is also more obviously Hitchcockian to my mind. Some scenes offer very good, though specific, riffs on famous Hitchcock moments — a version of Psycho’s shower scene is particularly memorable, though a scatological take on The Birds will please some — but these are almost exclusively asides to the story, little sketches inserted wherever Brooks can find space to squeeze them in. They provide welcome amusement, but are far from integrated into the plot.
At this point I’m beginning to suspect Brooks’ humour just doesn’t gel with me. I enjoyed Spaceballs when I was younger, but watching it a couple of years ago I found it more embarrassing than entertaining. Even the widely praised Blazing Saddles raised little more than the occasional smile. High Anxiety, unfortunately, now joins this line-up.