Slow pace in the most part of the movie.

Sadly Over-hyped

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

By 1977 Mel Brooks had already spoofed the western, Universal horror films and movies of the silent era, so with High Anxiety he decided to take an affectionate aim at the suspense films of Alfred Hitchcock. It would probably be fair to say that the results are quite mixed, although in fairness even Brooks at his best can be uneven. The humour is a mixture of the very broad to the somewhat subtle. There are a few dud moments sprinkled throughout but it is successfully funny on occasions too. But High Anxiety sort of gets away with the poorer moments more or less and is really quite enjoyable from the point of view of its Hitchcockian references alone. If you are a fan of the master of suspense you will probably get a kick out of this one to some extent. The story has a psychiatrist with a fear of heights appointed the head doctor at the Institute for the Very, Very Nervous, when there he discovers a web of crime.Many of the films in Hitchcock's filmography are targeted, such as Spellbound (1945), Dial M for Murder (1954), Vertigo (1958), North by Northwest (1959), Psycho (1960) and The Birds (1963). I'm sure there must've been others too but, those ones I actually noticed. Some of the references are dealt with in very obvious ways such as the shower scene from Psycho and the climbing frame moment from The Birds. Those ones aren't especially clever really but they have some good things about them. At other times the spoofing is less directly obvious but it's fun spotting them in any case. I have to say though that I thought the funniest sequence in the film wasn't even connected in any way to the films of the master of suspense, it was an uproarious scene where Brooks and Madeline Kahn get through airport security by being loud and annoying. It's definitely true that Brooks in the main role isn't necessarily a good thing. He's not exactly bad but he's no Gene Wilder either. If a better comic actor had played this character it might have improved the film overall I reckon. A few regular actors from his other films return here to greater effect, like Madeline Kahn as the requisite Hitchcock ice blonde, while Cloris Leachman and Harvey Korman give amusingly spirited performances as fellow doctors who are up to no good. In the final analysis, while High Anxiety isn't a total success, it's very likable and for this reason I find it very easy to get on board with it.

"High Anxiety" never reaches the heights of other Brooks classics (despite coming highly recommended), but it ain't bad. Inconsistent, sure, but there are some solid laughs throughout. The gags tend to come at you pretty fast, and Mel takes on everything from "Vertigo", to "Psycho" to "North By Northwest". But it works as both an homage and parody of Alfred Hitchcock, and he's not just shooting fish in a barrel; he's paying due (off-color) respect to the suspense master. Its heart is in the right place. And then there's Cloris Leachman, who takes disturbing to outlandish heights. She's gotta be seen to be believed. She's easily the movie's best feature, no question. 6/10

Mel simply poured in one brilliant idea after the other in this picture. It doesn't strike me in particular that he miscast himself for the lead, or something. The picture was great anyway. There are few dull moments, and the plot has a stamina that many other comedies of this kind doesn't have. Take Dead Men Don't Wear Plaid, for one; I never could stand that stupid cheese-maker abduction scheme.Mel's other endeavors have the tendency to be over the top, as Blazing Saddles, that twists inscrutably half the way. High Anxiety kept on track all of the time.Of course Mel could have added even more Hitchcock references to the story. For instance, Dr. Thorndyke could have watched the opposite building through binoculars ("Rear Window") to find out what was the flashing light. I am content with the content the way it is, though.

There's more plot here than expected from a Brooks' movie. Can he kick his aversion to high places, overturn the hospital's bad reputation, and bring the baddies to justice. That's a lot to coordinate into 90-minutes of intended laughs. Overall, it's a movie of funny moments, but lacks the consistent absudity of, say, Young Frankenstein (1974). The only really wacky character is Cloris Leachman as a nurse from heck. And, oh yes, there's an outrageous bit by Charlie Callas as a guy you might find at the local dog shelter. Meanwhile, Barry Levinson has a funny bit as a bellboy with a screeching sound and homicidal urges. Surprisingly, however, Brooks' doctor is pretty restrained except for his anxiety shakes. But then his character has to carry the plot.The satirical parts are just okay, except for the clever take-off on Psycho's celebrated shower scene. It's a hoot and a half. The other Hitchcocks I could detect are Vertigo (1958), The Birds (1963), and North by Northwest (1959). But none come off in very humorous fashion. I suspect the writers had trouble blending the satirical elements into plot requirements. Thus, the two don't combine as well as they should. Too bad, Madeleine Kahn doesn't get more screen time. She was such a funny performer and without half trying. She should have done the musical number instead of Brooks who unfortunately does it fairly straight. Still, that scene in the convention hall is pretty funny. When the little kids come in, Brooks has to use evasive words like woo-woo instead of more adult language.I guess I was somewhat disappointed, not because the movie isn't generally funny, but because it doesn't reach the wacko heights of either Blazing Saddles (1974) or Young Frankenstein. All in all, the movie's a two-base hit instead of a homerun.