Importance of this comedy lies not so much in the sheer humor itself, but in it's daring provocativeness and theatrical tone, maneuvering the story towards utter absurdity. The kind of humor which will eventually be the explored by early Woody Allen, but finally refined and perfected by Monty Python, both of whom were undoubtedly influenced by Mel Brooks' successful debut.
Still very funny, though a bad taste comedy about Nazis probably always will be. As much as the chemistry of the two leads is great, I enjoy the supporting cast more, especially the Secretary and the Nazi sympathising playwright. Still prefer Young Frankenstein though.
It'd been a good 15 years since I watched this, and it does actually drag uneventfully for several stretches. It also embarrasses itself with dated sexism and homophobia. But you know what? Every few months I rewatch "Springtime for Hitler," and every time I laugh until I cry. And why nitpick something with these leads? With this fever pitch comic energy? With the funniest musical number ever committed to celluloid?
This is Mel Brooks' first film, and it's easily one of his best (if not, his absolute best). It's nothing less than a showcase of sheer comedic brilliance. The screenplay is delightfully daring and filled with countless unforgettable lines. And, of course, you have the incredibly hilarious performances of Zero Mostel, Gene Wilder and Kenneth Mars.
Mel Brooks' debut film is an absolute triumph - besides being one of his best screenplays (on the same level as Young Frankenstein and Blazing Saddles), it's also one of his funniest works overall. Brooks brings his natural wit and creates a brilliant plot, great jokes and hilarious songs, with the help of an excellent Zero Mostel and a flawless Gene Wilder in the one that might be his career-best performance.