In continuing my crusade of critiquing Westerns, I decided to see one that is much funnier than anything else I’ll talk about in this genre. This satirical Western comedy from legendary laughing man Mel Brooks premiered on February 6th, 1974, earning back over 50 times its small budget of $2.6 million. Co-written by Brooks and controversial comedian Richard Pryor, the story is a parody of any classic Western you can think of. Literally opening the film with the sound of a cracking whip, Cleavon Little stars as Bart, the newly appointed black sheriff in an all-white town. As part of a scheme to take over the surrounding land, a Governor and business mogul plot to use Bart as a means to pave the path. Here is a film that came at the tail-end of not one, but two pivotal periods of American history. In this case, it would be the Civil Rights movement of the 1960’s and the dominant era of Westerns before they faded away. It parodies the ideologies and concepts behind both of them, which, in a way, shows many similarities between the two periods. Cleavon Little is an excellent choice for the role of Bart. Charismatic and witty to a fault, he’s also apparently the smartest man in the town. The day he arrives, after a long silence from a stunned crowd, he holds his own gun to his head and pretends to take himself hostage. By his side, Gene Wilder plays the drunken, washed up gunslinger the Waco Kid. Despite keeping his dignity in check and providing memorable bits of dialogue, he doesn’t feel right in a supporting role. His immense energy and near-unpredictability gives the idea that he’s more fit for the role of a protagonist, a role which he later received yet again with Mel Brooks in 1974’s Young Frankenstein. The rest of the cast includes regular collaborators like Harvey Korman, Dom DeLuise, and Madeline Kahn, along with comedic/Western legends like Slim Pickens, John Hillerman, and even Brooks himself in a dual role as a Yiddish-speaking Indian chief and a dim-witted governor. Everyone turns in performances of exaggerated or goofy caricatures commonly seen in the genre. Perhaps the biggest drawback of the film is that it is simply too silly in most parts. It completely deconstructs the blatant racism of the time period, something that Hollywood has often obscured in its accounts of the mythic Old West. In fact, the N-word is said aloud so many times by so many characters, that Mel Brooks has publicly expressed doubt that the film could ever get remade in the modern era. I actually met someone who couldn’t finish Blazing Saddles because they said it was the most racist movie he’d ever seen. Not just that, the film also incorporates nearly a dozen or so deliberate anachronisms into a story that is supposed to be set almost 200 years ago. In one particular scene, when the bad guys are getting ready to enact their final move, they’re holding an open call for different types of evil doers from history. Biker gangs, Nazis, the Ku Klux Klan, Confederate soldiers, you name it. And near the end, as the climax comes to a head, the cast of the movie literally breaks the fourth wall before crashing onto a separate housing on the Warner Bros. studio lot before finishing at the iconic Grauman’s Chinese Theatre. Joseph Biroc’s camera work also deserves some commentary. Mimicking the works of iconic Westerns, there are numerous wide anamorphic shots of the landscape that paint a vast and beautiful picture of the desert- at least the illusion of a desert. John Morris’ musical score is a nice, rousing bit of music that keeps the viewer in the mood. But it isn’t very memorable beyond the moment of viewing. Accompanying it are a series of original songs, most of which were penned by Mel Brooks himself. And thankfully, they are much more memorable than the score, and even scored one this film’s 3 Oscar nominations. Speaking of songs, another anachronism worth noting is earlier on when jazz icon Count Basie is playing a cover of the song, “April in Paris.” It should be noted that there not many action scenes present here. But for the few that are, they are enticing and fun. Rather, the focus of Blazing Saddles– and for that matter, the comedic content -is set on the character interactions and dialogue. So many comedies attempt to have their jokes rely on toilets and sexual activity, but Mel Brooks knows better. Granted, it does have a lowbrow joke now and again, and was actually the first comedy to be submitted to the American Film Institute for a fart joke. Go figure. It’s a miracle this film actually saw the light of day given the production problems. Casting almost went to Richard Pryor for the roll of Bart, and the filmmakers faced numerous complaints from white audiences for the racism parodied. In fact, studio executives almost decided to cancel its theatrical release entirely. But Brooks, with the help of Wilder and Little, managed to make the movie he wanted. Regarded as the grandfather of the modern-day comedy, Blazing Saddles is a highly influential and enjoyable Western for older audiences. It may be too silly and audacious for some of the more reserved audiences, but it keeps me coming back to watch and quote it.