It turns out Madeline Kahn learned opera because some old Italian man who visited the Bavarian restaurant in upstate New York where she worked as a singing waitress used to shout "SING MADAME BUTTERFLY" at her from the audience, so never forget that life may still have a few surprises in store for you too.
The question has always been, for this series, "How long do I wait before I give them the Blazing Saddles/Clue scenes I know everyone's really here for?" And I think you've waited long enough, and been good.
Surely there is a lesson we can all glean from Madeline's response to the obscene caller. (Does anyone make obscene calls nowadays, or is that a plague that has been lifted from this sorry earth, now that everyone has Caller ID and also no one makes phone calls?)
It's a little hard sometimes to define what it is that I love so much about Mel Brooks movies (Spaceballs being a notable exception and one that I am no longer willing to argue about with you people). At least part of it has to be because of his murderer's row of comediennes he featured in his films: Teri Garr, Tracy Ullman, Cloris Leachmann, Bernadette Peters, Bea Arthur, and of course The Kahn.
Eileen Brennan at her absolute blousiest, blousier than Bloomingdale's on a Tuesday, Tuesday being the day most retailers receive new shipments of inventory. Cybill Shepherd tearfully tap-dancing through her pain. And Madeline – the eternal Madeline – cocking her hips as she belts "JUST KICK HIM OUT OF THE HAY."
