Mel Brooks, the legendary American comedian, actor, and filmmaker, turned 100 on Sunday, 28 June. To mark the occasion, the American Film Institute (AFI) has reshuffled its celebrated '100 Years...100 Laughs' list, elevating Brooks' 1974 Western satire Blazing Saddles to the number one spot as the funniest film of all time.
The AFI's decision bumps Billy Wilder's Some Like It Hot from the top position, a change that aligns with Brooks' long-standing public grumbling. According to the institute, Brooks "has long kvetched that his film is far funnier than Some Like It Hot." AFI President and CEO Bob Gazzale acknowledged the shift, stating, "He's right! We're happy to right this wrong as Mel celebrates his centennial. It's good to be the king, and may he live to be a 2,000 year old man. Happy birthday, Mel!"
A Satirical Masterpiece
Blazing Saddles is widely regarded as one of the most influential comedies ever made. Its absurd, fourth-wall-breaking, and boundary-pushing narrative mocked American bigotry, satirised racist tropes, and skewered Hollywood conventions. The film has faced controversy over the years for its use of racist language, but Brooks defended his work in a BBC Radio 4 interview, arguing that "politically correct" culture was "the death of comedy" and that a film like Blazing Saddles "would never be greenlit in today's current political climate."
Beyond its comedic legacy, Blazing Saddles was selected for preservation in the National Film Registry in 2006, deemed "culturally, historically, or aesthetically significant" by the US Library of Congress. Brooks is the only filmmaker with three films in the AFI's top 15: The Producers (1968) sits at number 11, and Young Frankenstein (1974) at number 13.
Brooks' European Connections
While Brooks is an American icon, his work has resonated deeply across Europe. His brand of irreverent, satirical humour—often targeting authority and social norms—has found particular favour in countries like France, Germany, and the United Kingdom. The success of The Producers and Young Frankenstein in European markets helped cement his reputation as a transatlantic comedic force. European film festivals, including Cannes and Berlin, have frequently celebrated his contributions to cinema.
Brooks' centennial also comes as he continues to work. He is producing a belated sequel to his 1987 Star Wars satire Spaceballs, titled Spaceballs: The New One, set for release next year. This ongoing productivity mirrors the energy of a continent that values both tradition and reinvention—much like the EU's own balancing act between heritage and innovation.
For European audiences, Brooks' longevity and the AFI's recognition offer a moment to reflect on the power of satire in challenging societal norms. As debates over free speech and political correctness continue across the continent, Brooks' unapologetic style remains a touchstone. His work, though distinctly American, speaks to universal themes of absurdity and resistance to dogma.
Happy birthday, Mel Brooks. We can't wait to see what comes next.
