In Celebration of Mel Brooks’ 100th Birthday, the American Film Institute Declares “Blazing Saddles” the Funniest Film of All Time

**Mel Brooks’ Centenary Celebrated with Reinsertion of ‘Blazing Saddles’ as the Funniest Film Ever**

Mel Brooks, the acclaimed filmmaker and comedian, marked a significant milestone on June 28 as he celebrated his 100th birthday. In recognition of this momentous occasion, the American Film Institute (AFI) made a notable adjustment to its prestigious list of comedic films, elevating Brooks’ iconic work, *Blazing Saddles*, from sixth to first place on their “100 Years… 100 Laughs” compilation. This shift sees *Blazing Saddles* crowned as the funniest film of all time, displacing the previous number one, *Some Like It Hot*.

The AFI’s decision signalised its appreciation for the profound impact Brooks’ work has had on the cinematic landscape. The film, which was initially released in 1974, is known for its audacious satire of the Western genre and remains a staple of American comedy. This latest ranking not only solidifies Brooks’ legacy but also enshrines his unique ability to tackle cultural stereotypes with humour.

AFI President and CEO Bob Gazzale commented on the reclassification, expressing delight at rectifying the rankings during Brooks’ centennial celebrations. “He’s right!” Gazzale proclaimed. “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.” This acknowledgment from the AFI manifests the sustained admiration for Brooks’ craft.

*Blazing Saddles*, which stars Cleavon Little as Bart, a black sheriff in a predominantly white town, challenges racial prejudices while delivering humour that resonates even decades after its release. Alongside his co-star Gene Wilder, who played the role of Jim the Waco Kid, Brooks created a storyline where the duo contends with the villainous Attorney General Hedley Lamarr, portrayed by Harvey Korman. The film’s bravado and irreverent approach continue to influence modern comedy, and its themes remain pertinent in discussions around race and representation.

With this latest honour, Brooks now holds the distinction of being the only filmmaker with three films in the AFI’s top 15 rankings. Besides *Blazing Saddles*, his other notable works, *The Producers* and *Young Frankenstein*, occupy the 11th and 13th positions, respectively. This demonstrates the breadth of Brooks’ influence in the realm of comedic cinema.

In previous reflections, Brooks expressed his firm belief regarding the hierarchical ranking of comedies, particularly stating that *Blazing Saddles* should dominate any list of comedic films. During an interview with *Entertainment Weekly* in 2014, he candidly noted, “I think the AFI number one all-time comedy is *Some Like It Hot*, which I like. But it’s certainly not half as funny as *Blazing Saddles*. I mean, it can’t compare.”

Brooks acknowledged the social ramifications of his work, revealing his initial fears about public reception. “I envisioned a race riot. I thought everybody would come after me… I thought if this was shown in Waco, Texas, the whites would storm the screen,” he explained. Ironically, *Blazing Saddles* was embraced by audiences in both Texas and New York, providing a testament to its universal appeal.

The satire embedded in *Blazing Saddles* delves into the complexities of race relations at a time when such subjects were often avoided in mainstream media. Brooks, along with his co-writers Richard Pryor, Norman Steinberg, Andrew Bergman, and Alan Uger, crafted a narrative that not only entertains but also prompts viewers to confront uncomfortable truths.

As Mel Brooks celebrates his 100th year, the renewed recognition of *Blazing Saddles* serves as a fitting tribute to a man whose comedic contributions have shaped the landscape of American film. His unique talent for weaving humour with social commentary continues to resonate, ensuring that his legacy is unlikely to fade.

In a world where humour is often a reflection of cultural dynamics, Brooks’ work remains a benchmark for aspiring comedians and filmmakers alike. The AFI’s redrawing of their rankings is more than a celebratory gesture; it underlines the enduring nature of Brooks’ impact on comedy and the evolution of film as an art form.