Mel Brooks’ Cinematic DNA Revealed Through His 100 Favorite Films

The American Cinematheque’s upcoming film series, “Programmed by Mel Brooks: 100 Years at the Movies,” offers a fascinating glimpse into the creative mind of a comedy legend. For the first time in his career, Mel Brooks has publicly shared his favorite films from the past century.

Brooks’ selection of 20 films, chosen with the assistance of Chris LeMaire, director of programming for the American Cinematheque, is eclectic and insightful. While his own films are noticeably absent, his favorites include some of the most iconic movies of the past century, such as Charlie Chaplin’s “City Lights” and Taika Waititi’s “Jojo Rabbit.”

The emphasis on American cinema in Brooks’ list is striking. Only two of the 20 films were made in the past 25 years: “Jojo Rabbit” and “Dolemite Is My Name.” This reflects Brooks’ perspective as a filmmaker who came of age during Hollywood’s golden age. His favorites include influential American films such as “Double Indemnity,” “Psycho,” and “The Grapes of Wrath.”

However, the list also reveals a more personal side to Brooks. The inclusion of Federico Fellini’s “I Vitelloni” adds international flair, while films like “The Miracle Worker” (1962), which starred his wife Anne Bancroft, showcase Brooks’ deep emotional connections to certain movies.

Brooks’ own films are noticeably absent from the list, except for “The Twelve Chairs,” a commercial flop. Perhaps this is because he wants to emphasize that his favorite films are not just about comedy or entertainment but about storytelling and artistic expression.

This list reveals a deep respect for cinema’s ability to transcend time and culture in Brooks. His choices also reflect his own experiences as a Jewish comedian growing up in America during World War II – films like “The Grapes of Wrath” and “I Vitelloni” speak to themes of social justice and cultural identity.

Ultimately, this list is not just about Mel Brooks’ favorite films; it’s about the cinematic DNA that has shaped his career. It shows a filmmaker who values storytelling, artistic expression, and social commentary – all qualities evident in his own work.

The influence of classic comedies on Brooks is clear, with “City Lights” and “A Night at the Opera” showcasing his love for physical comedy and the artistry of Chaplin. The inclusion of “The Marx Brothers” movies, particularly “Duck Soup,” suggests that Brooks was heavily influenced by their anarchic sense of humor.

Brooks’ list also reflects his personal relationships with other artists. The inclusion of “The Elephant Man” (1980), which he produced, highlights his respect for directors like David Lynch. His favorite films often blur the line between comedy and drama, reflecting his own experiences as a writer-director.

Films like “The Grapes of Wrath” and “I Vitelloni” speak to themes of displacement, injustice, and the immigrant experience – all issues that remain relevant today. Brooks’ choices show a filmmaker who is not just interested in entertainment but also in using comedy as a tool for social commentary.

Perhaps most striking about this list is its human side – the way it reveals the emotional connections between Brooks and certain films. “The Miracle Worker” (1962), which starred his wife Anne Bancroft, showcases the deep love that he had for her as an artist and person.

As we watch these movies on the big screen, we’re seeing the very fabric of Brooks’ creative vision. This list is a testament to the power of film to create connections between artists, audiences, and the wider world – and it’s a reminder of the enduring legacy of Mel Brooks, a true master of comedy and storytelling.