Seconded. I first watched Airplane! circa 1990, when I would have been about 9 years old, and I found it hilarious despite not recognizing any of the actors. (My Dad had to explain who Kareem Abdul-Jabbar is.) I’ve watched it many times since then and notice new funny things every time. There’s a whole lot that happens in the background that’s easy to miss. Also pretty audacious in its tasteless jokes about mental illness, suicide, wife-beating, heart surgery, Catholic nuns, Buddhist monks, etc… Nothing like that would get produced today.
Blazing Saddles has some hilarious scenes. It also has some scenes where the jokes fall flat. It’s a great comedy but not in the same class as Airplane!.
For the record, farts are not inherently funny. They do, however, have great potential to be funny. Not all fart jokes meet that potential, but the scene in Blazing Saddles did.
I couldn’t possibly choose one as funnier that the other. They are equally funny, but in different ways. This is like asking, “Who was lovelier, Barbara Eden or Elizabeth Montgomery?”
I’ll agree that Blazing Saddles is the more ambitious film, and I love the way that Gene Wilder and Cleavon Little play off each other, but I have to give the nod to *Airplane as the funnier of the two. Even more so if one runs it back to back with Zero Hour, the stolid 1957 melodrama that it inspired it.
I’ve got to go with Airplane! It cracks me up far more than Blazing Saddles does, and the ending of Blazing Saddles really brings the movie down several notches for me.
But, RTFirefly:
Gotta disagree. Much as love Holy Grail, it’s not even (IMHO, of course) the funniest Python movie - Life of Brian is better and funnier.
Airplane is funnier than Blazing Saddles. (Young Frankenstein is funnier than both of them put together.)
Airplane just keeps hitting you with joke after joke. If one fails, wait ten seconds for the next one. In Blazing Saddles you have to sit thru the whole Mongo subplot, which doesn’t work very well, and the ending is just tacked on and is a let down after the brilliant opening and the shimmering incandescence of Madeline Kahn.