An Analysis of BLAZING SADDLES

*The following was written as a final paper for an Introduction to Narrative Film class*

   Blazing Saddles is a 1974 Western comedy co-written and directed by Mel Brooks, arguably the most well known and celebrated director of comedies in the history of film, starring Cleavon Little as Black Bart and Gene Wilder as “The Waco Kid”, whom most people just call Jim. It is a satire of many popular Western films, as well as the role of African Americans portrayed in these films in comparison to their actual treatment in the historical “wild west”. Blazing Saddles demonstrates the racism toward black people that was never found in the majority of western films.

   With a comedic film that relies on slapstick such as this one, it can difficult to pinpoint a theme. However, by simply looking at how the film satirizes race relations in Westerns films, we can see one theme immediately. In simplest terms it could be described as the typical “don’t judge a book by its cover” cliché, though in more complex terms it could be described as showing the importance of equality amongst human beings and the irrationality behind extreme racism. Not only are the African Americans in the film treated as if they are beneath every other person, but when Cleavon Little’s character of Black Bart becomes the sheriff of Rock Ridge, he is met with anger and disdain, even with the town being in such dire straits. Despite being the town’s last remaining hope from the tyranny that has invaded their otherwise peaceful home, his life is still threatened before he can say one word of his speech accepting the position of sheriff. This is further demonstrated early in his role as sheriff as he is never referred to as his title of sheriff, but rather referred to as “nigger”. Once the town people grow adjusted to their new hero, they become more welcoming and start to refer to him as the sheriff of their town.

   Looking past discrimination by race, we also see this applied with another character named Mongo, played by Alex Karras. He is seen as nothing more than a stupid brute that can be controlled to strike fear into the hearts of whoever the film’s villains, Hedley Lamarr (Harvey Korman) and Taggart (Slim Pickens), desire, in this case the townspeople of Rock Ridge. Once Mongo is defeated and actually treated like a person, we see that he decides for himself where his allegiance lies and how much impact others’ perceptions can have on an individual. This is not the first time such a theme can be found in a film, nor is it the last, also appearing in Stir Crazy (1984) which just so happens to star Gene Wilder and Richard Pryor, both of which were involved in some capacity with Blazing Saddles.

   As a comedic, satirical look at the Western genre, Blazing Saddles demonstrates its themes by putting most of its focus on the emotional effect it has on its audience. Like every other film produced by Mel Brooks, this effect is of joy and laughter that will delight those who view the movie. This is done through witty dialogue from memorable characters. That being said, the film does not focus on the characters themselves, but rather the comedic relief they provide. A master of both visual and audible gags, the team of five writers, including the comic geniuses of Mel Brooks himself, along with Andrew Bergman and Richard Pryor, cleverly use anachronistic writing (such as referencing ESPN, Jesse Owens, and Hedy Lamarr) to not only make the film contemporary, but to also fuel its satire of Western films and the ideology behind them. By examining the role of African Americans in Westerns and making it more realistic to the time period in an almost surreal way, the point is driven across in a very humorous manner. Only in a film with such writing style could you see the Ku Klux Klan in a movie about cowboys and not have a problem with it.

   To create a satire of cowboy flicks, the setting is arguably the most important part of the film as any of Mel Brooks’ prior films that use some type of historical backdrop. With this film being a Western, it is natural that the setting blend with the genre it is (mostly) held in to create an old west atmosphere. Conversely, it also creates juxtaposition with anachronistic writing which makes the modern, pop culture filled humor more enjoyable for the audience. This becomes more prevalent by the end of the film when it is revealed that the entire film is actually a film within a film and takes place on a Warner Bros. Studio lot. This sudden change in locale not only fuels the zany humor of the film, but allows further parody, including mocking the classic “riding off into the sunset” ending of most Westerns by having Bart and Jim ride into the sunset, only to stop and have a limousine carry them the rest of the way.

   All of these scenes and various moments of comic genius are accompanied by a score and soundtrack indicative of the Western time period, even when the film is revealed to be set in a more modern era, disregarding a song and dance scene featuring a cameo by long time Mel Brooks collaborator Dom DeLuise. The score is fairly traditional for most Western films, a contrast with the slapstick style it uses. The opening song, written by Mel Brooks, is performed by famous Western-style singer Frankie Laine in a very serious manner, another stark contrast with the tone of the film. This is continued further when the black workers are made to sing a “nigger work song”, only to sing “I Get a Kick Out of You” by Cole Porter. Additional music written by Mr. Brooks also works well in the film, not only moving the narrative forward as it plays over various montages, but also provides its own gags, such as the reveal that the song is being sung by a church choir, which ceremoniously (and humorously) ends the song by singing “our town is turning into shit”.

   The auditory experience of the film extends to more than just the full songs that accompany the film. The sound effects and various other bits of sound contribute to the comedic timing of Blazing Saddles. When Bart performs a classic cartoon style gag on Mongo involving an exploding candy gram, the Merry Melodies tune that is so closely connected to Warner Bros.’ Looney Tunes plays over the scene, providing further indication to the zaniness of the scene that is occurring and the overall tone of the film. Sound effects also play a significant role, from the simplistic guns and horses that can be found in every other Western film. There are also other comedic sound effects, most famously the “campfire scene” as it has now been called involving some rapscallion cowboys, baked beans, and what you get when you combine the two.

   Blazing Saddles is considered to be one of the funniest films of all time, and for good reason. Mel Brooks with his crack team of writers were able to create humorous characters that are able to interact with one another in a surrealistic world, whilst poking fun at the Western films that had captivated America in years prior. The humor could be described as being quite random and ridiculous, but that is what makes the movie so much fun for audiences. Memorable performances by actors such as Gene Wilder, Harvey Korman, and so many others, including Mel Brooks himself as the womanizing, slightly off-kilter Governor William J. Le Petomane and as a Yiddish speaking Indian Chief. The ability to shift from satirizing old western style of living with pop culture references that would not normally fit the time is one of the reasons why over twenty five years later this film is still popular and well beloved by fans old and new alike.

   Blazing Saddles is not a “deep” film or anything of that sort, but it does what every comedy should in Hollywood: make the audience laugh. With its witty dialogue, memorable characters, great (and sometimes even amusing) score, and a visual quality that fits the western town perfectly but is still pleasing to the eye, Blazing Saddles is a film that has the ability to really draw the audience into its own crazy, little, bizarre world and not let go until the end credits start to roll.