Plot: What’s it about?
Goddard Bolt (Mel Brooks) has more wealth than he could ever spend, but he is always looking to add more to his bank accounts. In fact, he won’t hesitate to overtake an area and turn it into a shopping plaza or parking lot, even if people live there or the area has some kind of historic significance. His latest project involves a rundown section of town, which he wants to build over, but he has run into some resistance. The area is home to countless impoverished people, most of whom are homeless and if they were forced to vacate the area, they would have nowhere else to go or anyone else to turn to. The homeless have created a sort of community, in which they accept help from charities, but also work together to help themselves, though folks like Bolt might not understand that kind of approach. If Bolt wants to cash in and turn the area into a new development, he’ll have to experience life on the streets. He must survive out among the homeless in the area for thirty days, then he can return and build his projects on the site. But he cannot take any kind of money, assets, or other items of wealth to ease his burden, as he must truly learn what life is like for those who live in the area. Can the billionaire manage to live without all the luxuries of life and in any event, how will the experience change his outlook on life?
This is not Mel Brooks’ best known movie, nor is it his usual kind of picture, but Life Stinks stands as a solid addition to his resume. Brooks writes, directs, and stars here and handles all the chores with ease, but his finest work in Life Stinks comes from behind the camera. Indeed, this is a film that deals with depressing subject matter, but Brooks balances in ample laughs and isn’t overly exploitative in his approach, so emotion remains intact. This is important, since this plays almost like a skid row Frank Capra movie at times, though Brooks keeps it light whenever possible, without compromising his characters’ plight. So in other words, this is not Brooks’ trademark madcap lunacy, but he adds in plenty of humor and never tries to drive home the social commentary by force, so the balance stays right in tune. As an actor here, Brooks gets good mileage from the material and is backed by a solid supporting cast, which includes Lesley Ann Warren, Stuart Pankin, Jeffrey Tambor, and legendary voice talent Howard Morris. If you’re looking for another Young Frankenstein or Blazing Saddles, then Life Stinks won’t fulfill your wish, but that doesn’t mean Brooks didn’t put together a terrific movie here. I recommend Life Stinks to those interested, especially since MGM’s disc has a low price and a decent assortment of extras.
He often has smaller parts within his own films, but in Life Stinks, Mel Brooks assumes the burden of the main character. His performances are known for being kinetic and sometimes over the top, but here, he has keep himself in check to an extent. He is still able to show off his immense comedic skills, including his superb sense of physical antics, but he seems more down to Earth here and that helps the picture. If he went too far over the edge, the material would lose some of its realism and warmth, but Brooks is able to steer his performance right on the line and get the most of the material. He had taken a few years off from movies prior to Life Stinks, but he showed no signs of rust and delivered a great effort. Other films starring and directed by Brooks include Spaceballs, The Twelve Chairs, Blazing Saddles, High Anxiety, and Silent Movie. The cast also includes Lesley Ann Warren (The Limey, Clue), Jeffrey Tambor (Three O’Clock High, Mr. Mom), and Stuart Pankin (Arachnophobia, Scavenger Hunt).
Video: How does it look?
Life Stinks is presented in a 1.85:1 anamorphic widescreen transfer, with a full frame edition also included on this dual layered disc. The image here is quite solid and better than expected, but still shows some flaws at times. The print is clean in terms of scuffs and nicks, though it does have some grain, but that never amounts to much. The colors are natural in scope and retain proper brightness, while black levels come off as accurate and well balanced also. I was pleased with the sharpness here too, as previous editions had been a bit soft and of course, the inclusion of a widescreen edition should thrills fans.
Audio: How does it sound?
The audio here is mostly dialogue, but the included 2.0 surround option does find some ways to be on the active side. The music is able to use the speakers well and add some life, while a few scenes have some solid presence also. This is stuff like traffic noises, background audio, and other more subtle effects, but those add to the atmosphere, so don’t discount their value, especially in more reserved material like this. But the dialogue is still the main focus and it sounds great, very crisp and clean throughout. This disc also includes a French language option, as well as subtitles in English, Spanish, and French.
Supplements: What are the extras?
An audio commentary track with Brooks, as well as cowriters Rudy De Luca and Steve Haberman, is the main extra in this edition. As usual, Brooks is chatty and humorous, while the other two provide some information on how the project came to be, how it evolved, and other behind the scenes topics. Not the best commentary session out there, but its always nice to hear Brooks’ thoughts, if you ask me. This disc also includes a brief promotional featurette, as well as the film’s theatrical trailer.
