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The dynamic between the two lead roles is so different from one play to the other. In The Producers, the two triumph because Lane's Bialystok so easily dominates Broderick's maleable Bloom. The Odd Couple, I think, requires two actors who are more equal in relation to each other. Not having seen this Odd Couple (nor particularly wanting to), I can't begin to imagine a good Felix for Lane's Oscar.

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Young Frankenstein, After Hours and almost any comedy with Teri Garr, at least when she is onscreen

Kung Fu Hustle—Steven Chow at his best

Airplane—shockingly funny when it came out and can’t be blamed for the raft of lame imitators, including its own sequels--hasn’t aged very well

Dr. Strangelove –Gentlemen, you can't fight in here! This is the War Room.

A Night at the Opera --There ain't no Sanity Claus.

To Be or Not To Be —1942 with Jack Benny and Carole Lombard

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“Nick! Heath! Jarrod! There’s a fire in the barn!”

shockingly funny when it came out

There’s a scene where Robert Stack charges through the airport punching out various mendicants of the sort that used to hang out there, and the applause in the theatre where I saw it was HUGE.

hasn’t aged very well

True, but I still like Lloyd Bridges saying “Looks like I picked the wrong week to quit sniffing glue” and the bit where the heart transplant specialist is on the phone saying something like, “We’ve found a heart” and it’s bouncing around on his desk.

I regret to say that I've always found "To Be Or Not To Be" a trifle overrated -- good but not great. But then, as a Carole Lombard fan I always want to see more of her, and although she plays up to Benny beautifully and graciously it's still a supporting role.

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