SPAMALOT Film Adaptation in the Works!

When I first saw this news, I almost thought it was a joke...
http://deadline.com/2018/05/spamalot-movie-monty-python-fox-mean-girls-casey-nicholaw-eric-idle-1202382256/

But it seems that Fox will be bringing the 2005 Tony-winning musical Spamalot to the big screen. Casey Nicholaw, who earned his first choreography credit on the Broadway production, will direct with Eric Idle writing the screenplay.

I had the same reaction. IMO the weakest part of Spamelot was the musical numbers, most of which were (again IMO) thoroughly mediocre. Why not just see Monty Python and the Holy Grail.

He directed an episode of Smash.

While yes, it may not have worked with Susan Stroman reprising her directorial duties for the 2005 film adaptation of The Producers, though at least Phyllida Lloyd enjoyed a big commercial success when she reprised her directorial duties for the film adaptation of Mamma Mia!.

why.





We have Holy Grail already. That's all we need.

I don't think Stroman's direction in the film of the Producers is necessarily BAD.

I would say she could direct another musical as a film, if it wasn't a comedy.

I felt the humor just fell flat flat flat.

But there are some really well shot sequences.

Some of the musical numbers ARE fun and lively.



People crap on that movie and for sure it's not great, but it's not A LITTLE NIGHT MUSIC Hal Prince direction bad. It's just not very funny and it's too long.

g.d.e.l.g.i. said: "Well, that seems about as pointless a choice as one could possibly make, but then again, the 2005 film ofThe Producers exists, so anything is possible."





If it weren't for that film, I wouldn't have fallen in love with musical theatre. Poorly made, but wow! I have so many fond memories attached to it.

This reeks of a Casey Nicholaw publicist earning his money. Wake me when they're actually shooting.

Whether it was Brooks's influence or not, the example I often use for the the problems with the film of The Producers is in the "Springtime for Hitler" sequence. In the original movie Mel gave us that hilarious overhead shot of the marching, spinning swastika. To replicate that on stage Stroman brilliantly used the overhead mirror device to show that to everyone in the orchestra level who wasn't looking down on the stage. In the musical film both the overhead shot and the mirror were used and instead of laughing at the visual I just said "why did we need to be shown this in two different ways back to back?" It kind of exemplified that there wasn't a consensus on whether it was a movie or a documentation of the stage musical and ended up kind of existing uneasily with a foot in each world and no strong commitment to either.