4K Ultra HD™ Review: There’s No Saving Mel Brooks’ “Blazing Saddles” From Its Own Shortcomings

In order to ruin a western town and steal their land, a corrupt politician appoints a black sheriff, who promptly becomes his most formidable adversary.

Mel Brooks, a comedic mastermind of his era, left an indelible mark on cinema through his work both in front of and behind the camera. Despite a directing career spanning only eleven films, he crafted a string of comedy classics, including “The Producers,” “Young Frankenstein,” “High Anxiety,” and “Spaceballs.” While some of his later efforts, such as “Life Stinks” and “Dracula: Dead and Loving It,” received less acclaim, Brooks’ 1974 “Blazing Saddles” remains widely regarded as one of the greatest comedies ever produced. The Library of Congress recognized its cultural significance by inducting it into the National Film Registry in 2006.

However, the film’s enduring reputation and my own anticipation, fueled by growing up with Brooks’ oeuvre, left me underwhelmed. Despite watching the 50th Anniversary 4K release, I only laughed sporadically. The film’s humor, reliant on deliberate anachronisms and a loose narrative punctuated by comedic sketches, failed to resonate with me.

Set in 1874, “Blazing Saddles” tells the story of the small town of Rock Ridge, threatened by a rerouted railroad and the nefarious plans of Attorney General Hedley Lamarr (Harvey Korman). In an attempt to drive out the townsfolk, Lamarr manipulates the dim-witted Governor Le Petomane (Mel Brooks) into appointing a black railroad worker, Bart (Cleavon Little), as the new sheriff, expecting his race to provoke chaos. However, Bart’s arrival foils Lamarr’s scheme, setting the stage for a battle of wits.

As a product of its time, “Blazing Saddles” reflects the era’s more lax attitudes toward language and racial humor. The film’s use of the n-word, supported by co-writer Richard Pryor and lead actor Cleavon Little, may unsettle modern audiences accustomed to stricter political correctness. However, the film clearly intends to caricature and condemn racism rather than endorse it.

The film boasts an impressive cast, including Gene Wilder as the “Waco Kid,” alongside Slim Pickens, Madeline Kahn, Burton Gilliam, and John Hillerman. While their talents are evident, they are unfortunately underutilized. The humor is hit-or-miss, with few scenes matching the ingenuity of Bart’s initial town entrance, where he takes himself hostage to deflect attention.

While my assessment may contradict the prevailing view of “Blazing Saddles” as an untouchable classic, critiques are inherently subjective. The film’s potential for greatness is undeniable, but it fell short of its comedic promise for this viewer.

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