![]() A Brooks later style, I suppose, is always possible: One can imagine him at 100 bantering in Shakespearean Yiddish with robots. Those men had a definite flavor, and they meant to be understood.Įdward Said spoke of a “late style” in certain artists-a changed consciousness near the end, a practice of concision, definitiveness, and in some cases rejection of convention and even of the audience itself. His normal speaking voice-not the Yiddish-accented voice of the comedy routines-could be called classical Brooklyn, the sound I remember as a New York kid from encounters with taxi drivers, baseball fans, and teachers. At other times, he murmurs rapidly, teenage-style, “Yeah! Yeah! Yeah!” No one is ever likely to miss a Mel Brooks joke, since he speaks, sometimes roars, with great precision. When Brooks gets excited, that voice bursts out of him like a tiger bursting out of the bush. He has blue-gray eyes and a rakish smile his hair is white and full the voice remains powerfully hoarse, with traces of Louis Armstrong’s music filtering through the guttural tones. Mel Brooks has just turned 92, and, as far as anyone can tell, he is unaltered.
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