Höhenkoller

Mel Brooks takes on Hitchcock movies like "Vertigo" and "Spellbound "with a dash of "One Flew Over the Cuckoo's Nest" thrown in. This is an excuse to get the whole Brooks' gang dealing with mental institutions and mental illness. Of course, it is utter zaniness as Brooks as the hospital director is in a madhouse (no pun intended). The patients have nothing on the doctors when it comes to outrageous behavior. The problem here is that Brooks never knows when to quit. With really well done comedies like "Young Frankenstein" and "The Producers" we see his genius with good scripting and characters filling out the fabric of the film. Here it's almost anything for a joke, including a casual reference to Jack Benny and highly dramatic music in one scene which turns out to be a concert band going by in a bus. These are fun, but some of the stuff isn't and draws attention outward.

By 1977 Mel Brooks had already spoofed the western, Universal horror films and movies of the silent era, so with High Anxiety he decided to take an affectionate aim at the suspense films of Alfred Hitchcock. It would probably be fair to say that the results are quite mixed, although in fairness even Brooks at his best can be uneven. The humour is a mixture of the very broad to the somewhat subtle. There are a few dud moments sprinkled throughout but it is successfully funny on occasions too. But High Anxiety sort of gets away with the poorer moments more or less and is really quite enjoyable from the point of view of its Hitchcockian references alone. If you are a fan of the master of suspense you will probably get a kick out of this one to some extent. The story has a psychiatrist with a fear of heights appointed the head doctor at the Institute for the Very, Very Nervous, when there he discovers a web of crime.

Many of the films in Hitchcock's filmography are targeted, such as Spellbound (1945), Dial M for Murder (1954), Vertigo (1958), North by Northwest (1959), Psycho (1960) and The Birds (1963). I'm sure there must've been others too but, those ones I actually noticed. Some of the references are dealt with in very obvious ways such as the shower scene from Psycho and the climbing frame moment from The Birds. Those ones aren't especially clever really but they have some good things about them. At other times the spoofing is less directly obvious but it's fun spotting them in any case. I have to say though that I thought the funniest sequence in the film wasn't even connected in any way to the films of the master of suspense, it was an uproarious scene where Brooks and Madeline Kahn get through airport security by being loud and annoying. It's definitely true that Brooks in the main role isn't necessarily a good thing. He's not exactly bad but he's no Gene Wilder either. If a better comic actor had played this character it might have improved the film overall I reckon. A few regular actors from his other films return here to greater effect, like Madeline Kahn as the requisite Hitchcock ice blonde, while Cloris Leachman and Harvey Korman give amusingly spirited performances as fellow doctors who are up to no good. In the final analysis, while High Anxiety isn't a total success, it's very likable and for this reason I find it very easy to get on board with it.

Mel Brooks' delirious comedy/thriller is a delight even if you're not already an Alfred Hitchcock fan--but if you *are,* you'll love it even more as you peg specific spoofs/references to such Hitch classics as SPELLBOUND, VERTIGO, THE MAN WHO KNEW TOO MUCH '56 (Brooks' piano bar rendition of the title song is the movie's highlight) and THE BIRDS. While Gene Wilder would've been perfect casting as acrophobic psychiatrist Dr. Richard H(arpo). Thorndyke, Brooks is nevertheless as irresistable as he is irrepressible, with Madeline Kahn a fine match for him as the flakiest mysterious blonde this side of Kim Novak. Brooks' stock company of Harvey Korman, Cloris Leachman, Ron Carey, and Howard Morris (as Professor Little-Old-Man, er, Lillolman) are in fine form. Like all of Brooks' best movies, the plot would work just fine as a straight thriller, and the spoofing is as affectionate as it is hilarious. It's a comedy to go crazy over!

Mel Brooks arrives at the "Institute" to find suspicious goings on, and tries to find out what's going on and who is behind it. Cloris Leachman and Harvy Korman are fellow doctors at the asylum, and watch over the institute when Mel must attend a conference. Watch for Barry Levinson (writer, director, producer) as he plays the bellboy. Ron Carey from Barny Miller plays the chauffeur who tries to help Mel when he runs into trouble with the always funny Madeline Kahn. The references to all of Hitchcocks films are many and great, and Mel even sings a song in the movie. His speech given for fellow doctors at the conference goes on a little long, but can be forgiven as it is offset by the quick action for most of the movie. Cloris Leachman is hilarious as Nurse Diesel, and her manner is a funny as her costume. Half the jokes in this movie are things as simple as camera angles, facial expressions, and what people are wearing.

Though often overlooked in favor of Blazing Saddles or Young Frankenstein, I believe this to be the pick of Brooks' parodies. Whether you share this opinion would depend on your familiarity with all things Hitchcockian.

It is not only Vertigo, as the title suggests, that gets the Brooks treatment here, but The Birds, Spellbound and Psycho are all parodied to various degrees of subtlety. Many of these films key scenes are simply re-enacted with comic touches, whilst the Hitchcock formalae is very much in evidence. The style is particularly amusing in its parody. Highlights include a probing camera becoming all too literally intrusive when it crashes through a pane of glass in the window, and a dramatic sound composition turning out to be merely the didactic passing bus load of a touring philamonic orchestra.

Resisting the out and out farce of his earlier effort, Blazing Saddles, and managing not to evolve into simply being a one joke movie such as the tendency of his recent efforts, High Anxiety is Brooks at his most clever. The cast, mainly consisting of Brooks regulars, all display splendidly entertaining and aptly silly impersonations of recognisible Hitchcock stereotypes. It is Brooks' finest hour however, with not only directing, writing, and acting to his credit but singing as well!!!