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The pair first meets when Leo Bloom is sent to review Max Bialystock's financial records. After some urging--and some singing--the duo decides to purposely co-produce a flop on Broadway, raise more many than they will invest and pocket the extra cash. For Max, it's a chance to finally make some serious money after years of being broke. For Leo, however, it's the opportunity to realize his lifelong dream of being a Broadway producer.

The scheme involves Max, an army of withered old biddies with walkers and the hilarious tune “Along Came Bialy.” It's a hoot to see the openly gay Lane tackle his role with such gusto.

After an exhaustive search, Max and Leo decide to produce Springtime for Hitler , a pro-Nazi musical by Franz Liebkind (Will Ferrell). “It's the mother-lode,” Max says gleefully.

Assembling the players, however, is no easy task. After auditions for a perfect Hitler prove (riotously) unsuccessful, Franz gleefully accepts the role. Ferrell is pitch-perfect as the kooky playwright, and his hyperactive humor merges perfectly with the film's frenzied mood.

Thurman, who replaced Nicole Kidman early in the production, has always been a beautiful, beguiling actress. Here, she makes the most of her physical attributes, but she's also a heck of a dancer and a singer. Her duets with Broderick are utterly charming, and the performance adds another glittering facet to her continually fascinating career path.

Every good musical needs a few gay boys, and The Producers offers up a doozy of a duo in the uproarious Roger and Carmen. Beach--whose Broadway credits include The Producers, Beauty and the Beast and La Cage Aux Folles--proves an effortless scene stealer as fluttery director Roger De Bris. His entrance in a glittering gown, coupled with that endlessly expressive mug, makes for some of the film's biggest laughs.

Bart, best-known as the (recently deceased) creepy pharmacist on Desperate Housewives, is equally amusing as Carmen Ghia, whose pageboy haircut, fey wardrobe and pinched face give him the look of a psychotic Liza Minnelli. He makes the most of every scene--and may strike fear in a few hearts.

The duo is joined by what looks like the Village People and stragglers from the Castro Halloween Parade during “Make It Gay,” a free-for-all number full of sight gags, double entendres and enough fairy dust to cover Mount Everest . It's one of the film's funniest--and most potentially insulting--moments, but it also encapsulates Brooks' and The Producers' wickedly irreverent spirit of whimsy and wit.

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