Scantily dressed eunuch carrying a weapon keeps an eye on a harem in Tunis, Tunisia, 1931

A eunuch ( /ˈjuːnək/; Greek: Ευνούχος) is a person who (by the common definition of the term eunuch) may have been castrated, typically early enough in his life for this change to have major hormonal consequences. Less commonly, in translations of ancient texts, "eunuch" may refer to a man who is not castrated but who is impotent, celibate or otherwise not inclined to marry and reproduce.

Castration was typically carried out on the soon-to-be eunuch without his consent in order that he might perform a specific social function; this was common in many societies. The earliest records for intentional castration to produce eunuchs are from the Sumerian city of Lagash in the 21st century BC.^[1][2] Over the millennia since, they have performed a wide variety of functions in many different cultures: courtiers or equivalent domestics, treble singers, religious specialists, government officials and guardians of women or harem servants.

Eunuchs would probably be servants or slaves who, because of their function, had been castrated, usually in order to make them reliable servants of a royal court where physical access to the ruler could wield great influence. Seemingly lowly domestic functions—such as making the ruler's bed, bathing him, cutting his hair, carrying him in his litter, or even relaying messages—could in theory give a eunuch "the ruler's ear" and impart de facto power on the formally humble but trusted servant. Similar instances are reflected in the humble origins and etymology of many high offices (e.g., chancellor originally denoted a servant guarding the entrance to an official's study). Eunuchs supposedly did not generally have loyalties to the military, the aristocracy, nor to a family of their own (having neither offspring nor in-laws, at the very least), and were thus seen as more trustworthy and less interested in establishing a private 'dynasty'. Because their condition usually lowered their social status, they could also be easily replaced or killed without repercussion. In cultures that had both harems and eunuchs, eunuchs were sometimes used as harem servants (compare the female odalisque) or seraglio guards.^{[citation needed]}

In Latin, the words eunuchus, spado, and castratus were used to denote eunuchs.^[3]

Eunuchs by region and epoch[link]

Ancient Middle East[link]

Eunuchs were familiar figures in the Assyrian Empire (ca. 850 till 622 BCE) in the court of the Egyptian Pharaohs (down to the Lagid dynasty known as Ptolemies, ending with Cleopatra). Political eunuchism became a fully established institution among the Achamenide Persians.^[4] Eunuchs held powerful positions in the Achaemenide court. The eunuch Bagoas (not to be confused with Alexander's Bagoas) was the Vizier of Artaxerxes III and IV, and was the primary power behind the throne during their reigns, until he was killed by Darius III.^[5]

Ancient Greece, Rome and Byzantium[link]

The practice was also well established in Europe among the Greeks and Romans, although a role as court functionaries does not arise until Byzantine times. The Galli or Priests of Cybele were eunuchs.

In the late period of the Roman Empire, after the adoption of the oriental royal court model by the Emperors Diocletian and Constantine, Emperors were surrounded by eunuchs for such functions as bathing, hair cutting, dressing, and bureaucratic functions, in effect acting as a shield between the Emperor and his administrators from physical contact, enjoyed great influence in the Imperial Court (see Eusebius and Eutropius). Eunuchs were believed loyal and indispensable.^{[citation needed]}

However, it was not uncommon for wives to have sex with partially castrated eunuchs (those whose testicles were removed or rendered inactive only) whose sexual competence persisted for some time after the castration, hence the bitter epigram: "Do you ask, Panychus, why your Caelia only consorts with eunuchs? Caelia wants the flowers of marriage – not the fruit." ^[6]

At the Byzantine imperial court, there were a great number of eunuchs employed in domestic and administrative functions, actually organized as a separate hierarchy, following a parallel career of their own. Archieunuchs—each in charge of a group of eunuchs—were among the principal officers in Constantinople, under the emperors.^[7] Under Justinian in the 6th century, the eunuch Narses functioned as a successful general in a number of campaigns.

Following the Byzantine tradition, eunuchs had important tasks at the court of the Norman kingdom of Sicily during the middle 12th century. One of them, Philip of Mahdia, has been admiratus admiratorum, and another one, Peter the caid, was prime minister.

China[link]

Records of eunuchs in China date to the Shang dynasty, when the Shang kings castrated prisoners of war.^[8] In China, castration included removal of the penis as well as the testicles. Both organs were cut off with a knife at the same time.^{[9][10][11][12]} Men sentenced to castration were turned into eunuch slaves of the Qin dynasty state perform forced labor for projects such as the Terracotta Army.^[13] The Qin government confiscated the property and enslaved the families of rapists who received castration as a punishment.^[14] Men punished with castration during the Han dynasty were also used as slave labor.^[15]

From ancient times until the Sui Dynasty, castration was both a traditional punishment (one of the Five Punishments) and a means of gaining employment in the Imperial service. At the end of the Ming Dynasty there were about 70,000 eunuchs (宦官 huànguān, or 太監 tàijiàn) employed by the emperor, with some serving inside the Imperial palace. Certain eunuchs gained immense power that occasionally superseded that of even the Grand Secretaries. Zheng He, who lived during the Ming Dynasty, is an example of such a eunuch. Self-castration was a common practice, although it was not always performed completely, which led to it being made illegal. During the early Ming period, China demanded to send the eunuchs as tribute to Korea, where some of them oversaw the Korean concubines in the harem of the Chinese Emperor.^[16][17]

A Qing dynasty eunuch, before 1911

When the Ming army finally captured Yunnan from Mongols in 1382, thousands of prisoners were killed and, according to the custom in times of war, their young sons – including Zheng He – were castrated.^[18][19] During the Miao Rebellions (Ming Dynasty), Chinese commanders castrated thousands of Miao boys when their tribes revolted, and then gave them as slaves to various officials.^[19]

The sons and grandsons of the rebel Yaqub Beg in China were all castrated. Surviving members of Yaqub Beg's family included his 4 sons, 4 grandchildren (2 grandsons and 2 granddaughters), and 4 wives. They either died in prison in Lanzhou, Gansu, or were killed by the Chinese. His sons Yima Kuli, K'ati Kuli, Maiti Kuli, and grandson Aisan Ahung were the only survivors in 1879. They were all underage children, and put on trial, sentenced to an agonizing death if they were complicit in their father's rebellious "sedition", or if they were innocent of their fathers crimes, were to be sentenced to castration and serving as a eunuch slave to Chinese troops, when they reached 11 years old, and handed over to the Imperial Household to be executed or castrated.^[20][21][22] In 1879, it was confirmed that the sentence of castration was carried out, Yaqub Beg's son and grandsons were castrated by the Chinese court in 1879 and turned into eunuchs to work in the Imperial Palace.^[23]

It is said that the justification for the employment of eunuchs as high-ranking civil servants was that, since they were incapable of having children, they would not be tempted to seize power and start a dynasty. In many cases, eunuchs were considered more reliable than the scholar officials. A similar system existed in Vietnam.^[24]

The tension between eunuchs in the service of the emperor and virtuous Confucian officials is a familiar theme in Chinese history. In his History of Government, Samuel Finer points out that reality was not always that clear-cut. There were instances of very capable eunuchs, who were valuable advisers to their emperor, and the resistance of the "virtuous" officials often stemmed from jealousy on their part. Ray Huang argues that in reality, eunuchs represented the personal will of the Emperor, while the officials represented the alternate political will of the bureaucracy. The clash between them would thus have been a clash of ideologies or political agenda.^[25]

The number of eunuchs in Imperial employ fell to 470 by 1912, when the practice of using them ceased.^{[citation needed]} The last Imperial eunuch, Sun Yaoting died in December 1996.

Korea[link]

The eunuchs of Korea, called Naesi (내시, 內侍), were officials to the king and other royalty in traditional Korean society. The first recorded appearance of a Korean eunuch was in Goryeosa ("History of Goryeo"), a compilation about the Goryeo period. In 1392, with the founding of the Joseon Dynasty, the Naesi system was revised, and the department was renamed the "Department of Naesi" (내시부, 內侍府).^[26]

The Naesi system included two ranks, those of Sangseon (상선, 尙膳, "Chief of Naesi"), who held the official title of senior second rank, and Naegwan (내관, 內官, "Common official naesi"), both of which held rank as officers. 140 naesi in total served the palace in Joseon Dynasty period. They also took the exam on Confucianism every month.^[26] The naesi system was repealed in 1894 following Gabo reform.

Early on, castration consisted of daubing a boy's genitals with human feces and having a dog bite them off.^[27] During the Yuan Dynasty, eunuchs became a desirable commodity for tributes, and dog bites were replaced by more sophisticated surgical techniques.^[28]

Ottoman Empire[link]

Chief Eunuch of Ottoman Sultan Abdul Hamid II at the Imperial Palace, 1912.

In the Middle Eastern empires, eunuchs were typically slaves imported from outside the Islamic domains. A fair proportion of male slaves were imported as eunuchs.^[29]

The Ottoman court harem—within the Topkapı Palace (1465–1853) and later the Dolmabahçe Palace (1853–1909) in Istanbul—was under the administration of the eunuchs. These were of two categories: Black Eunuchs and White Eunuchs. Black Eunuchs were Africans who served the concubines and officials in the Harem together with chamber maidens of low rank. The White Eunuchs were Europeans from the Balkans. They served the recruits at the Palace School and were from 1582 prohibited from entering the Harem. An important figure in the Ottoman court was the Chief Black Eunuch (Kızlar Ağası or Dar al-Saada Ağası). In control of the Harem and a perfect net of spies in the Black Eunuchs, the Chief Eunuch was involved in almost every palace intrigue and could thereby gain power over either the sultan or one of his viziers, ministers or other court officials.^[30] One of the most powerful Chief Eunuchs was Beshir Agha who played a crucial role in establishing the Ottoman version of Hanafi Islam throughout the Empire by founding libraries and schools.^[31]

The eunuchs in the Ottoman Empire were created mainly at one Coptic monastery, at Abou Gerbe monastery on Mount Ghebel Eter. The Coptic priests sliced the penis and testicles off Nubian or Abyssinian slave boys around the age of eight.^[32] The boys were captured from Abyssinia and other areas in Sudan like Darfur and Kordofan then brought into Sudan and Egypt. During the operation, the Coptic clergyman chained the boys to tables and after slicing their sexual organs off, stuck a piece of bamboo into the genital area, then submerged them in neck high sand to burn. The recovery rate was ten percent. The resulting eunuchs fetched large profits in contrast to eunuchs from other areas.^[33][34][35]

Indian subcontinent[link]

Eunuchs in Indian Mughal royalty[link]

Eunuchs were frequently employed in Imperial palaces by Mughal rulers as servants for female royalty, and often attained high-status positions in society. Eunuchs in Imperial palaces were organized in a hierarchy, often with a senior or chief eunuch (Urdu:"Khwaja Saras") directing junior eunuchs below him. Eunuchs were highly valued for their strength, ability to provide protection for ladies' palaces and trustworthiness, allowing eunuchs to live amongst women with fewer worries. This enabled eunuchs to serve as messengers, watchmen, attendants and guards for palaces. Often, eunuchs also doubled as part of the King's court of advisers.^[36][37]

As a result of the number of high-status job openings available for eunuchs, poor families often converted one of their sons into a eunuch and had him work in the imperial palaces to create a steady source of revenue for the family and ensure a comfortable lifestyle for the son. This practice of castration was banned throughout the Empire in 1668 by Aurangzeb, but continued covertly.

The hijra of South Asia[link]

The Ancient Indian Kama Sutra refers to people of a "third sex" (triteeyaprakrti), who can be dressed either in men's or in women's clothes and perform fellatio on men. The term has been translated as "eunuchs" (as in Sir Richard Burton's translation of the book), but these persons have also been considered to be the equivalent of the modern hijra of India.^{[citation needed]}

Hijra, a Hindi and Urdu term traditionally translated into English as "eunuch", actually refers to what modern Westerners would call male-to-female transgender people and effeminate homosexuals (although some of them reportedly identify as belonging to a third sex). Some of them undergo ritual castration, but the majority do not. They usually dress in saris (traditional Indian garb worn by women) or shalwar kameez (traditional garb worn by women in South Asia) and wear heavy make-up. They typically live in the margins of society, face discrimination^[38] and earn their living in various ways, e.g., by coming uninvited at weddings, births, new shop openings and other major family events and singing until they are paid or given gifts to go away.^[39] The ceremony is supposed to bring good luck and fertility, while the curse of an unappeased hijra is feared by many. Other sources of income for the hijra are begging and prostitution. The begging is accompanied by singing and dancing and the hijras usually get the money easily. Some Indian provincial officials have used the assistance of hijras to collect taxes in the same fashion; they knock on the doors of shopkeepers, while dancing and singing, and embarrass them into paying.^[40] Recently, hijras have started to found organizations to improve their social condition and fight discrimination. There has even been a wave of hijra entering politics and being elected to high political positions.

Religious castration[link]

Castration as part of religious practice, and eunuchs occupying religious roles have been established prior to classical antiquity. Archaeological finds at Çatalhöyük in Anatolia indicate worship of a 'Magna Mater' figure, a forerunner of the Cybele goddess found in later Anatolia and other parts of the near East.^[41] Later Roman followers of Cybele, were called Galli, who practiced ritual self-castration, known as sanguinaria.^[41]

The practice of religious castration continued into the Christian era, with members of the early church castrating themselves for religious purposes,^[42] although the extent and even the existence of this practice among Christians is subject to debate.^[43] The early theologian Origen found scriptural justification for the practice in Matthew 19:12,^[44] where Jesus says, "For there are eunuchs who have been so from birth, and there are eunuchs who have been made eunuchs by others, and there are eunuchs who have made themselves eunuchs for the sake of the kingdom of heaven. Let anyone accept this who can." (NRSV)

Tertullian, a 2nd century Church Father, described Jesus himself and Paul of Tarsus as spadones, which is translated as "eunuchs" in some contexts.^[45] Quoting from the cited book:^[45] "...Tertullian takes 'spado' to mean virgin...". The meaning of spado in late antiquity can be interpreted as a metaphor for celibacy, however Tertullian's specifically refers to St. Paul as being castrated.^[45]

Eunuch priests have served various goddesses from India for many centuries. Similar phenomena are exemplified by some modern Indian communities of the Hijra, which are associated with a deity and with certain rituals and festivals – notably the devotees of Yellammadevi, or jogappas, who are not castrated^[46] and the Ali of southern India, of whom at least some are.^[47]

The 18th-century Russian Skoptzy (скопцы) sect was an example of a castration cult, where its members regarded castration as a way of renouncing the sins of the flesh.^[48] Several members of the 20th century Heaven's Gate cult were found to have been castrated, apparently voluntarily and for the same reasons.^[49]

Eunuchs in the Bible[link]

Eunuchs are mentioned many times in the Bible such as in the Book of Isaiah (56:4) using the word סריס (saris). Although the Ancient Hebrews did not practice castration, eunuchs were common in other cultures featured in the Bible, such as Ancient Egypt, Babylonia, the Persian Empire and Ancient Rome. In the Book of Esther, servants of the harem of Ahasuerus such as Hegai and Shashgaz as well as other servants such as Hatach, Harbonah, Bigthan, and Teresh are referred to as sarisim. Being exposed to the consorts of the king, they would have likely been castrated.

There is some confusion regarding eunuchs in Old Testament passages, since the Hebrew word for eunuch, saris (סריס), could also refer to other servants and officials who had not been castrated but served in similar capacities.^[50][51] The Egyptian royal servant Potiphar is described as a saris in Genesis 39:1, although he was married and hence unlikely to have been a eunuch.

The reference to "eunuchs" in Matthew 19:12 has yielded various interpretations.

Castrato singers[link]

Eunuchs castrated before puberty were also valued and trained in several cultures for their exceptional voices, which retained a childlike and other-worldly flexibility and treble pitch. Such eunuchs were known as castrati. Unfortunately the choice had to be made at an age when the boy would not yet be able to consciously choose whether to sacrifice his reproductive capabilities, and there was no guarantee that the voice would remain of musical excellence after the operation.

As women were sometimes forbidden to sing in Church, their place was taken by castrati. The practice, known as castratism, remained popular until the 18th century and was known into the 19th century. The last famous Italian castrato, Giovanni Velluti, died in 1861. The sole existing recording of a castrato singer documents the voice of Alessandro Moreschi, the last eunuch in the Sistine Chapel choir, who died in 1922.

Non-castrated eunuchs[link]

According to Byzantine historian Kathryn Ringrose,^[52] while the pagans of Classical Antiquity based their notions of gender in general and eunuchs in particular on physiology (the genitalia), the Byzantine Christians based them on behaviour and more specifically procreation. Hence, by Late Antiquity the term "eunuch" had come to be applied not only to castrated men, but also to a wide range of men with comparable behavior, who had "chosen to withdraw from worldly activities and thus refused to procreate".^[53] The broad sense of the term "eunuch" is reflected in the compendium of Roman law created by Justinian I in the 6th century known as the Digest or Pandects. That text distinguishes between two types of eunuchs – spadones (a general term denoting "one who has no generative power, an impotent person, whether by nature or by castration",^[54] D 50.16.128) and castrati (castrated males, physically incapable of procreation). Spadones are eligible to marry women (D 23.3.39.1), institute posthumous heirs (D 28.2.6), and adopt children (Institutions of Justinian 1.11.9), unless they are castrati.

Eunuchs in the contemporary world[link]

The hijra of India (see above) may number as many as 2,000,000,^[55] and are usually described as eunuchs, although they may be closer to male-to-female transsexual people, but have surgical castration instead of reassignment surgery, and seldom have access to hormones. The loss of testosterone and lack of estrogen means their bodies take on the characteristics of post-pubertal eunuchs.

The most commonly castrated men are advanced prostate cancer patients. In the United States alone there are more than 200,000 new cases of prostate cancer diagnosed each year. It is estimated that over 80,000 of these men will be surgically or chemically castrated within six months of diagnosis.^[56] With the average life expectancy after castration, there are approximately a half million chemically or surgically castrated prostate cancer patients at any time in the U.S. alone.^{[citation needed]} While most of these men would deny the term "eunuch," they meet all physiological characteristics of post-pubertal eunuchs. Some do, however, embrace the term for the historic and psychological grounding that it gives them.^[57][58]

Convicted sex offenders who have been castrated are rare; although there is debate as to whether the drastic reduction of testosterone and the consequent diminishing of libido might have an effect on recidivism.^[59]

Popular culture[link]

Film[link]

The 2001 documentary film Bombay Eunuch examines the changing role of India's hijras, some of whom are also eunuchs. Once granted an honored place in Hindu society because they were thought to possess divine powers, the hijras have lost status as Western notions of gender and sexual identity have crept into Indian culture.

The 2003 documentary film American Eunuchs investigates the underworld of modern eunuchs in America. Each year in the United States hundreds of men voluntarily choose to be castrated and reinvent their sexual identity for reasons other than sex reassignment.

Kiss the Moon, a 2010 documentary, is set in a rapidly changing Pakistan. Three generations of eunuchs examine the ancient rituals and religious beliefs surrounding their community.

The 2011 film Nilkantho treats the plight of the Indian hijras with sensitivity. They arrive at Nishikanta's house to shower blessings on his newborn son. Since Nishikanta is too poor to give them even a single pie, the eunuchs gave him money so that he may buy milk for his son. Nishikanta ends by joining the eunuch community to make a living.

The Last Eunuch, a 1991 Chinese biographical film directed by Tian Zhuangzhuang, tells the story of Li Lianying, a eunuch who wielded power in the waning days of the Qing Dynasty. The film was entered into the 41st Berlin International Film Festival, where it won an Honourable Mention.

Literature[link]

Eunuchs feature prominently in Montesquieu's 1722 novel Lettres Persanes, supposedly about Persian visitors to eighteenth-century France.

Bagoas, the eunuch favorite of Alexander the Great, is the main character and narrator of The Persian Boy, a 1972 historical novel by Mary Renault.

George R.R. Martin's fantasy series A Song of Ice and Fire features the eunuch Varys, also called the Spider, who is the master of whisperers to Aerys II Targaryen, King Robert I Baratheon, King Joffrey I Baratheon, and Queen Cersei. There are a number of other eunuchs mentioned, including the Unsullied, elite eunuch soldiers; and Strong Belwas, a bodyguard to Daenerys Targaryen sent by Illyrio Mopatis.

Notable eunuchs[link]

In chronological order.

• Aspamistres or Mithridates (5th century BCE): bodyguard of Xerxes I of Persia, and (with Artabanus) his murderer.
• Artoxares: an envoy of Artaxerxes I and Darius II of Persia.
• Bagoas (4th century BCE): prime minister of king Artaxerxes III of Persia, and his assassin. (Bagoas is an old Persian word meaning eunuch.)
• Bagoas (4th century BCE): a favorite of Alexander the Great. Influential in changing Alexander's attitude toward Persians and therefore in the king's policy decision to try to integrate the conquered peoples fully into his Empire as loyal subjects. He thereby paved the way for the relative success of Alexander's Seleucid successors and greatly enhanced the diffusion of Greek culture to the East.
• Philetaerus (4th/3rd century BCE): founder of the Attalid dynasty of Pergamum
• Sima Qian (old romanization Ssu-ma Chi'en; 2nd/1st century BCE): the first person to have practiced modern historiography – gathering and analyzing both primary and secondary sources in order to write his monumental history of the Chinese empire.
• Ganymedes (1st century BCE): highly capable adviser and general of Cleopatra VII's sister and rival, Princess Arsinoe. Unsuccessfully attacked Julius Caesar three times at Alexandria.
• Pothinus (1st century BCE): regent for pharaoh Ptolemy XII.
• Unidentified eunuch of the Ethiopian court (1st century CE), described in The Acts of the Apostles (chapter 8). Philip the Evangelist, one of the original seven deacons, is directed by the Holy Spirit to catch up to the eunuch's chariot and hears him reading from the Book of Isaiah (chapter 53). Philip believed the section prophesies Jesus' crucifixion, which Philip described to the eunuch. The eunuch was baptized shortly thereafter.
• Cai Lun (old romanization Ts'ai Lun; 1st/2nd century CE): reasonable evidence exists to suggest that he was truly the inventor of paper. At the very least, he established the importance of paper and standardized its manufacture in the Chinese empire.
• Origen: early Christian theologian, allegedly castrated himself based on his reading of the Gospel of Matthew 19:12 (For there are eunuchs, who were born so from their mother's womb: and there are eunuchs, who were made so by men: and there are eunuchs, who have made themselves eunuchs for the kingdom of heaven. He that can take, let him take it.). Despite the fact that the early Christian theologian Tertullian wrote that Jesus was a eunuch, there is no corroboration in any other early source. (The Skoptsy did, however, believe it to be true.)^{[citation needed]}
• Eutropius (5th century CE): only eunuch known to have attained the highly distinguished and very influential position of Roman Consul.
• Chrysaphius: chief minister of Eastern Roman Emperor Theodosius II, architect of imperial policy towards the Huns.
• Narses (478–573): general of Byzantine emperor Justinian I, responsible for destroying the Ostrogoths in 552 at the Battle of Taginae in Italy and saving Rome for the empire.
• Solomon: general and governor of Africa under Justinian I
• Staurakios: chief associate and minister of the Byzantine empress Irene of Athens
• Ignatius of Constantinople (799–877): twice Patriarch of Constantinople during troubled political times [847–858 and 867–877]. First absolutely unquestioned eunuch saint, recognized by both the Orthodox and Roman Churches. (There are a great many early saints who were probably eunuchs, though few either as influential nor unquestioned as to their castration.)
• Yazaman al-Khadim (died 891): Emir of Tarsus and successful commander in the wars against Byzantium
• Mu'nis al-Khadim (845/846–933/934): Commander-in-chief of the Abbasid armies between 908 and his death,
• Joseph Bringas: chief minister of the Byzantine Empire under Romanos II (959-963).
• Jia Xian (c. 1010- c. 1070): Chinese mathematician, Invented the Jia Xian triangle for the calculation of square roots and cube roots.
• Ly Thuong Kiet (1019–1105): general during the Lý Dynasty in Vietnam. Penned what is considered the first Vietnamese declaration of independence. Regarded as a Vietnamese national hero.
• Pierre Abélard (1079–1142): French scholastic philosopher and theologian. Forcibly castrated by his girlfriend's uncle while in bed.
• Malik Kafur (fl. 1296–1316): a eunuch slave who became a general in the army of Alauddin Khilji, ruler of the Delhi sultanate.
  

  

  European illustration of one of the "white eunuchs" of the Ottoman Sultan's court (1749)
• Zheng He (1371–1433): famous admiral who led huge Chinese fleets of exploration around the Indian Ocean.
• Judar Pasha (late 16th century): a Spanish eunuch who became the head of the Moroccan invasion force into the Songhai Empire.
• Kim Cheo Seon: one of the most famous eunuchs in Korean Joseon Dynasty, ably served kings in the Joseon dynasty. His life is now the subject of a historical drama in South Korea.
• Mohammad Khan Qajar: chief of the Qajar tribe. He became the King/Shah of Persia in 1794 and established the Qajar dynasty.
• Zhao Gao: favourite of Qin Shihuangdi, who plotted against Li Si (died 210 BC)
• Zhang Rang: head of the infamous "10 Changshi" (Ten attendants) of Eastern Han Dynasty
• Huang Hao: eunuch in the state of Shu; also appears in the Romance of the Three Kingdoms
• Cen Hun: eunuch in the state of Wu during the Three Kingdoms Period
• Gao Lishi: a loyal and trusted friend of Tang emperor Xuanzong
• Le Van Duyet: famous 18th century Vietnamese eunuch, military strategist and government official (not a true eunuch, he was born a hermaphrodite)
• Senesino (1686 – 1758): Italian contralto castrato singer.
• Farinelli (1705 – 1782): Italian soprano castrato singer.
• Giusto Fernando Tenducci (c1736-1790): Italian soprano castrato singer.
• Li Fuguo: The Tang eunuch who began another era of eunuch rule
• Yu Chao'en: Tang eunuch who began his "career" as army supervisor
• Wang Zhen: first Ming eunuch with much power, see Tumu Crisis
• Gang Bing: patron saint of eunuchs in China who castrated himself to demonstrate his loyalty to emperor Yongle
• Yishiha: admiral in charge of expeditions down the Amur River under the Yongle and Xuande Emperors
• Liu Jin: a well-known eunuch despot
• Wei Zhongxian: most infamous eunuch in Chinese history
• Li Lianying: a despotic eunuch of the Qing Dynasty
• Boston Corbett (1832 – presumed dead 1894): who killed John Wilkes Booth, castrated himself to avoid temptation from prostitutes
• Alessandro Moreschi (1858 - 1922), Italian castrato singer, the only one to make recordings.
• Sun Yaoting (1902–1996): last surviving imperial eunuch of Chinese history

Notes[link]

Sources and references[link]

• English translation of Rudople Guilland's essay on Byzantine eunuchs "Les Eunuques dans l'Empire Byzantin: Étude de titulature et de prosopographie byzantines", in 'Études Byzantines', Vol. I (1943), pp. 197–238 with many examples

External links[link]

• "Born Eunuchs" Home Page and Library
• The Eunuch Archive
• Eunuchs in Pharaonic Egypt
• The Eunuchs of Ming Dynasty China
• Hidden Power: The Palace Eunuchs of Imperial China
• The Perfect Servant: Eunuchs and the Social Construction of Gender in Byzantium

Mel Brooks
Brooks in April 2010
Birth name	Melvin Kaminsky
Born	(1926-06-28) June 28, 1926 (age 85) Brooklyn, New York, U.S.
Medium	Film Television Musical theatre
Nationality	American
Years active	1949–present
Genres	Farce, parody
Subject(s)	Comedy
Influences	George M. Cohan Jack Benny Bob Hope Harry Ritz Fred Astaire Gene Kelly
Influenced	Robin Williams, Jim Carrey, Andy Samberg
Spouse	Florence Baum (1953-62, divorced), 3 children Anne Bancroft (1964-2005, her death), 1 child (Max Brooks)
Notable works and roles	The Producers Blazing Saddles Young Frankenstein, History of the World, Part 1
Academy Awards
Best Original Screenplay 1968 The Producers
Emmy Awards
Outstanding Writing for a Variety, Music or Comedy Program 1967 The Sid Caesar, Imogene Coca, Carl Reiner and Howard Morris Special Outstanding Guest Actor - Comedy Series 1997, 1998, 1999 Mad About You
Tony Awards
Best Musical 2001 The Producers Best Book of a Musical 2001 The Producers Best Original Score 2001 The Producers
Laurence Olivier Awards
Best New Musical 2005 The Producers
Grammy Awards
Best Spoken Comedy Album 1999 2000 Year Old Man Best Long Form Music Video 2002 Recording 'The Producers': A Musical Romp with Mel Brooks Best Musical Show Album 2002 The Producers
Saturn Award
Saturn Award for Best Direction 1975 Young Frankenstein Mel Brooks has won an Oscar, three Emmys, three grammys, three tonys, and has received four Golden Globe nominations.

Mel Brooks (born Melvin Kaminsky; June 28, 1926)^[1] is an American film director, screenwriter, composer, lyricist, comedian, actor and producer. He is best known as a creator of broad film farces and comic parodies. He began his career as a stand-up comic and as a writer for the early TV variety show Your Show of Shows. He became well known as part of the comedy duo with Carl Reiner, The 2000 Year Old Man. In middle age he became one of the most successful film directors of the 1970s, with many of his films being among the top ten money makers of the year that they were released. His most well known films include The Producers, Blazing Saddles, Young Frankenstein, History of the World, Part I and Spaceballs. More recently he has had a smash hit on Broadway with the musical adaptation of his first film, The Producers. He was married to the actress Anne Bancroft from 1964 until her death in 2005.

Brooks is a member of the short list of entertainers with the distinction of having won an Emmy, a Grammy, an Oscar and a Tony award. Three of his films ranked in the American Film Institute's list of the top 100 comedy films of all-time: Blazing Saddles at number 6, The Producers at number 11, and Young Frankenstein at number 13.^[2]

Early life[link]

Brooks was born Melvin Kaminsky in Brooklyn, New York, a son of Maximilian Kaminsky and his wife Kate (née Brookman).^[3] His father's family were German Jews from the Baltic Sea port of Danzig (the modern Polish port of Gdansk); his mother's family were Ukrainian Jews from Kiev.^[4] He had three older brothers, Irving, Lenny and Bernie. His father died of kidney disease when Brooks was only two years old.^[5] Brooks has said of his father's death that "there's an outrage there. I may be angry at God, or at the world, for that. And I'm sure a lot of my comedy is based on anger and hostility. Growing up in Williamsburg, I learned to clothe it in comedy to spare myself problems - like a punch in the face."^[6]

Brooks was a small, sickly boy who was often bullied and picked on by his classmates.^[7] He was taught by Buddy Rich (who had also grown up in Williamsburg) to learn how to play the drums and started earning money at it when he was fourteen.^[6] Following high school, he spent a year at Brooklyn College as a psychology major before being drafted into the army.^[6] He attended the Army Specialized Training Program^[8] conducted at the Virginia Military Institute^[9] (although not actually as a VMI cadet) and served in the United States Army as a corporal during World War II, arriving in France weeks after the Battle of the Bulge.^[10]

Career[link]

[edit] Early career and Your Show of Shows

After World War II, Brooks started working in various Borscht Belt resorts and nightclubs in the Catskill Mountains as a drummer and pianist. Around this time he changed his professional name to "Mel Brooks" after being confused with the well-known Borscht Belt trumpet player Max Kaminsky.^[6] After a regular comic at one of the nightclubs was too sick to perform one night, Brooks started working as a stand-up comic, telling jokes and doing movie-star impressions. He also began acting in summer stock in Redbank, New Jersey and did some radio work.^[6] He eventually worked his way up to the comically aggressive job of Tummler (master entertainer) at Grossinger's, one of the Borscht Belt most famous resorts.^[6][11]

Brooks found more rewarding work behind the scenes, becoming a comedy writer for television. In 1949 his friend Sid Caesar hired Brooks to write jokes for the NBC series The Admiral Broadway Revue, paying him $50 a week. In 1950, Caesar created the revolutionary variety comedy series Your Show of Shows and hired Brooks as a writer along with Carl Reiner, Neil Simon, Danny Simon, and head writer Mel Tolkin.^[6] The show was an immediate hit and has been influential to all variety and sketch-comedy TV shows since. Carl Reiner, as creator of The Dick Van Dyke Show, based Morey Amsterdam's character Buddy Sorell on Brooks. Likewise the 1982 film My Favorite Year is loosely based on Brooks' experiences as a writer on the show and an encounter with aging Hollywood actor Errol Flynn. Neil Simon's 1993 play Laughter on the 23rd Floor is also loosely based on the production of the show, and the character Ira Stone is based on Brooks.

Your Show of Shows would end in 1954 when performer Imogene Coca left to host her own show. Caesar then created Caesar's Hour with most of the same cast and writers (including Brooks and adding Larry Gelbart). Caesar's Hour ran from 1954 until 1957.

In 1957 Brooks wrote the book for his first Broadway musical Shinbone Alley.

[edit] The 2000 Year Old Man and Get Smart

Brooks and co-writer Reiner had become fast friends and began to casually improvise comedy routines when they weren't working. Reiner would play the straight man interviewer who would set Brooks up as anything from a Tibetan Monk to an astronaut. As Reiner explained, "In the evening we'd go to a party and I'd pick a character for him to play. I never told him what it was going to be."^[6] On one of these occasions Reiner's suggestion was a 2000 Year Old Man who had witnessed the crucifixion of Jesus Christ (who "came in the store but never bought anything"), had been married several hundred times and had "over forty-two thousand children, and not one comes to visit me." At first Brooks and Reiner would only perform the routine for friends but by the late 1950s had gained a cult status in New York City. Kenneth Tynan saw the comedy duo perform at a party in 1959 and wrote that Brooks "was the most original comic improvisor I had ever seen."^[6]

In 1960, Brooks moved from New York to Hollywood. He and Reiner began performing the 2000 Year Old Man act on the Steve Allen Show. Their performances led to the release of the comedy album 2000 Years with Carl Reiner and Mel Brooks that sold over a million copies in 1961.^[6] They eventually expanded their routine with two more albums in 1961 and 1962, a revival in 1973, a 1975 animated TV special and a reunion album in 1998.

Brooks adapted the 2000 Year Old Man character to create the 2500 Year Old Brewmaster for Ballantine Beer in the 1960s. Interviewed by Dick Cavett in a series of ads, the Brewmaster (in a German accent, as opposed to the 2000 Year Old Man's Jewish voice) said he was inside the original Trojan horse and "could've used a six-pack of fresh air."^[12]

In 1962 Brooks wrote the Broadway musical All American. Brooks wrote the play with lyrics by Lee Adams, and music by Charles Strouse. The show starred Ray Bolger as a southern science Professor at a large university who uses the principles of engineering on the college's football team and the team begins to win games. The show was directed by Joshua Logan, who script doctored the second act and added a gay subtext to the plot. The show ran for 80 performances and received two Tony Award nominations.

In 1963 Brooks was involved in the animated short film The Critic, a satire of arty, esoteric cinema, conceived by Brooks and directed by Ernest Pintoff. Brooks supplied running commentary as the baffled moviegoer trying to make sense of the obscure visuals. The short film won the Academy Award for Animated Short Film.

In 1965, Brooks teamed up with comedy writer Buck Henry to create a comedic TV show about a bumbling James Bond inspired spy. Brooks explains, "I was sick of looking at all those nice sensible situation comedies. They were such distortions of life...I wanted to do a crazy, unreal comic-strip kind of thing about something besides a family. No one had ever done a show about an idiot before. I decided to be the first."^[13] The show that Brooks and Henry created was Get Smart, starring Don Adams as Maxwell Smart, Agent 86. This series ran from 1965 until 1970, although Brooks was not involved with its production after the pilot episode.^[14] Get Smart was highly rated for most of its production and won seven Emmy Awards,^[15] including Outstanding Comedy Series in 1968 and 1969.

Brooks had married actress Anne Bancroft in 1964 and the two lived together in New York City.

Early career as a film director[link]

For several years Brooks had been toying with a bizarre and unconventional idea about a musical comedy of Adolf Hitler. Brooks explored the idea as a novel and a play before finally writing a script.^[6] Eventually he was able to find two producers to fund the show, Joseph E. Levine and Sidney Glazier, and made his first feature film, The Producers, in 1968. The film starred Zero Mostel, Gene Wilder, Dick Shawn, Kenneth Mars, Christopher Hewett, Andréas Voutsinas and Lee Meredith with music by John Morris.

The Producers begins when Max Bialystock (Mostel), a once-successful Broadway producer who whores himself out to elderly women in order to make ends meet and produce plays, meets Leo Bloom (Wilder), a lonely and hyper-hysterical accountant. While Leo is looking over Max's books, he realizes that a producer could make more money producing a flop than a hit simply by raising more money than needed and then ensuring the play would not make any profits to pay back the backers. Max and Leo search for the worst play ever written, which turns out to be Springtime for Hitler by Franz Liebkind (Mars). The play is described as "a gay romp with Adolph and Eva through Berchtesgaden". It turns into a musical comedy under Max and Leo's leadership. After assembling an equally abysmal director, Roger De Bris (Hewett), and a brain-dead hippie to play Hitler (Shawn), Max and Leo expect to become rich with the anticipated flop. However, the audience interprets the play as a satire making it a huge comedic hit. Not wanting to go to jail, Max, Leo and Franz decide to blow up the theater but are caught in the explosion and sentenced to prison, where they promptly produce a musical revue using the prison inmates.^[6]

The Producers was so brazen in its satire that major studios would not touch it, nor would many exhibitors. Brooks finally found an independent distributor who released it as an art film, a specialized attraction. In 1968 Brooks received an Oscar for Best Original Screenplay for the film beating such writers as Stanley Kubrick and John Cassavetes. The Producers became a smash underground hit, first on the nationwide college circuit, then in revivals and on home video. Brooks later turned it into a musical, which became hugely successful on Broadway receiving an unprecedented twelve Tony awards.

With the moderate financial success of the film The Producers, Glazier financed Brooks' next film in 1970, The Twelve Chairs. Loosely based on a Russian 1928 novel The Twelve Chairs by Ilf and Petrov about greedy materialism in post-Revolutionary Russia, the film stars Ron Moody, Frank Langella and Dom DeLuise as three men individually searching for a fortune in diamonds hidden in a set of twelve antique chairs. Brooks himself has a cameo as an alcoholic ex-serf who "yearns for the regular beatings of yesteryear." The film was shot in Yugoslavia with a budget of $1.5 million. The film received poor reviews and was not financially successful.^[6]

Success as a Hollywood director[link]

Brooks then wrote an adaptation of Oliver Goldsmith's She Stoops to Conquer, but was unable to sell the idea to any studio and believed that his career was over. In 1972 Brooks met agent David Begelman who helped him set up a deal with Warner Brothers to hire Brooks (as well as Richard Pryor, Andrew Bergman, Norman Steinberg and Al Uger) as a script doctor for an unproduced script called Tex-X. Eventually Brooks was hired as director for what would become Blazing Saddles, his third film.^[6]

Blazing Saddles starred Cleavon Little, Gene Wilder, Harvey Korman, Slim Pickens, Madeline Kahn, Alex Karras and Brooks himself with cameos by Dom DeLuise and Count Basie. The film had music by Brooks and John Morris and received a modest budget of $2.6 million. This film is a satire on the Western film genre and references older films such as Destry Rides Again, High Noon, Once Upon a Time in the West and The Treasure of the Sierra Madre as well as a surreal scene towards the end of the film referencing the extravagant musicals of Busby Berkeley.

In the film, the small town of Rock Ridge is in the pathway of the new railroad being built. In order to buy the land on the route more cheaply, the corrupt State Attorney General Hedley Lamarr (Korman) and the dim-witted State Governor (Brooks) plot to drive the townspeople out by appointing as their new sheriff a black man, Bart (Little). The racist townspeople are slow to accept Sheriff Bart, but with the help of the drunken ex-gunslinger the Waco Kid (Wilder) he is able to rid the town of all crime and problems and wins the people over. Realizing that they have to do something to destroy Bart's reputation, Lamarr sends the saloon singer Lili von Shtupp (Kahn) to seduce and corrupt Bart. However, she ends up falling in love with him, so as a final effort to drive the townspeople away, Lamarr organizes a raid to burn the town to the ground. But, under Bart's leadership, the townspeople are able to fight off Lamarr's men, and in the ensuing fight the film itself spills over into other films being shot on the Warner brother lot, such as a musical directed by the temperamental Dom DeLuise character. In the end the townspeople are saved and Sheriff Bart rides off into the sunset.

Upon its release, Blazing Saddles was the second highest grossing film, domestically, of 1974 earning $119.5 million worldwide. Despite mixed reviews, the film was a success with younger audiences. It was nominated for three Academy Awards: Best Actress in a Supporting Role for Madeline Kahn, Best Film Editing, and Best Music, Original Song. The film won the Writers Guild of America Award for "Best Comedy Written Directly for the Screen"^[16] and in 2006 it was deemed "culturally, historically or aesthetically significant" by the Library of Congress and was selected for preservation in the National Film Registry.^[17] Brooks has said that the film "has to do with love more than anything else. I mean when that black guy rides into that Old Western town and even a little old lady says 'Up yours nigger!', you know that his heart is broken. So its really the story of that heart being mended."^[6]

When Gene Wilder replaced Gig Young as the Waco Kid, he did so only if Brooks agreed that his next film would be an idea that Wilder had been working on: a spoof of the old Universal Frankenstein films.^[18] After the filming of Blazing Saddles was completed, Wilder and Brooks began writing the script for Young Frankenstein and shot the film in the spring of 1974. It starred Wilder, Marty Feldman, Peter Boyle, Teri Garr, Madeline Kahn, Cloris Leachman and Kenneth Mars with Gene Hackman in a memorable cameo role. Composer John Morris again provided the music score and Universal Monsters film special effects veteran Kenneth Strickfaden worked on the film.

Young Frankenstein stars Wilder as the young American scientist Dr. Frederick Frankenstein (pronounced "Fronk-en-steen") who travels to Transylvania to visit his famous grandfather's castle and laboratory. With the help of hunchback servant Igor (Feldman), beautiful assistant Inga (Garr) and suspicious housekeeper Frau Blücher (Leachman), Frankenstein discovers his grandfather's notebooks and attempts to continue his work in reanimation. He builds his creation, the monster (Boyle) but Igor accidentally obtains an abnormal brain making the monster violent and uncontrollable. When the monster escapes, he terrorizes the countryside before Dr. Frankenstein can lure him back to the castle and civilize him, ending in a sophisticated and humorous rendition of Irving Berlin's "Puttin' on the Ritz". The monster's violent tendencies come back and he is put in jail by Inspector Kemp (Mars). In the meantime, Dr. Frankenstein has begun a relationship with Inga just before his insufferable fiance Elizabeth (Kahn) arrives at the castle. The monster escapes from jail, kidnaps Elizabeth and seduces her to her great satisfaction. Dr. Frankenstein is able to get the monster back again and attempts a dangerous experiment sharing part of his own brain with the monster, which succeeds in civilizing him. In the end Frankenstein and Inga are happily married, as are Elizabeth and the monster.

Young Frankenstein was the third highest grossing film domestically of 1974, just behind Blazing Saddles. It earned $86 million worldwide and received two Academy Award nominations: Academy Award for Writing Adapted Screenplay and Academy Award for Best Sound. It received some of the best reviews of Brooks' career and even critic Pauline Kael liked the film, saying that "Brooks makes a leap up as a director because, although the comedy doesn't build, he carries the story through...Brooks even has a satisfying windup, which makes this just about the only comedy of recent years that doesn't collapse."^[6]

In 1975, at the height of his movie career, Brooks tried TV again with When Things Were Rotten, a Robin Hood parody that lasted only 13 episodes. Nearly twenty years later, in response to the 1991 hit film Robin Hood: Prince of Thieves, Brooks mounted another Robin Hood parody with Robin Hood: Men in Tights. Brooks's film resurrected several pieces of dialog from his TV series, as well as from earlier Brooks films.

In 1976, Brooks followed up his two hit films with an audacious idea: the first feature-length silent comedy in four decades. Silent Movie was written by Brooks and Ron Clark, starring Brooks in his first leading role, Dom DeLuise, Marty Feldman, Sid Caesar, Bernadette Peters and, in cameo roles playing themselves: Paul Newman, Burt Reynolds, James Caan, Liza Minnelli, Anne Bancroft and ironically, Marcel Marceau, who uttered the film's only word of audible dialogue: "Non!"

In the film Brooks plays Mel Funn, a recovered alcoholic and once successful director, who convinces the Chief of his studio (Caesar) that a silent film could still be profitable and will save the studio from being taken over by the evil conglomerate Engulf & Devour (a thinly disguised reference to Gulf+Western's takeover of Paramount Pictures). With help from his two assistants, DeLuise and Feldman, Funn enlists several well known movie stars to appear in the film thus assuring its success. Worried that Funn's success will prevent their takeover, Engulf & Devour send the sexy nightclub singer Vilma Kaplan (Peters) to seduce and distract Funn. But Kaplan and Funn fall in love with each other and Funn is able to complete the film. In the end the film is a hit with audiences.^[6]

Although not as successful as his previous two films, Silent Movie was a hit and grossed $36 million. Later that year Brooks was named number 5 on a list of the Top Ten Box Office Stars.^[6]

In 1977, Brooks made a parody of the films of Alfred Hitchcock in High Anxiety. The film was written by Brooks, Ron Clark, Rudy De Luca and Barry Levinson and was the first movie produced by Brooks himself. It starred Brooks, Madeline Kahn, Cloris Leachman, Harvey Korman, Ron Carey, Howard Morris and Dick Van Patten. The film satirizes such Hitchcock classic films as Vertigo, Spellbound, Psycho, The Birds, North by Northwest, Dial M for Murder and Suspicion.

Brooks stars as Professor Richard H. (for Harpo) Thorndyke, a Nobel Prize winning psychologist who also happens to suffer from high anxiety. Thorndyke is appointed the director of the Psycho-Neurotic Institute for the Very, Very Nervous, which also employs sadistic Nurse Diesel (Leachman) and masochistic Dr. Montague (Korman). Things at the hospital are not what they seem and as Thorndyke becomes increasingly suspicious of Diesel and Montague, he is approached by the mysterious Hitchcockian-blonde Victoria Brisbane (Kahn), whose father is a patient at the hospital. Thorndyke and Brisbane uncover a plot by Diesel and Montague to imprison wealthy patients for profit with Thorndyke framed for a murder. On the run as a Hitchcockian Wrong Man, Thorndyke is able to rescue Brisbane's father and clear himself of all crimes, marrying Brisbane in the end.^[6] The film was another modest hit for Brooks, earning $31 million and received mixed reviews.

Later film career[link]

Brooks in c. February 1984

By 1980, Siskel and Ebert called Mel Brooks and Woody Allen "the two most successful comedy directors in the world today ... America's two funniest filmmakers."^[19] That year, Brooks produced the dramatic film The Elephant Man (directed by David Lynch). Knowing that anyone seeing a poster reading "Mel Brooks presents The Elephant Man" would expect a comedy, he set up the company Brooksfilms. Brooksfilms has since produced a number of non-comedy films, including David Cronenberg's The Fly, Frances, and 84 Charing Cross Road, starring Anthony Hopkins and Anne Bancroft, along with comedies, including Richard Benjamin's My Favorite Year, which was partially based on Mel Brooks' real life. Brooks sought to purchase the rights to 84 Charing Cross Road for his wife, Anne Bancroft for many years. He successfully obtained the rights to the movie and presented them to her as an anniversary gift.

In 1981 Brooks joked that the only genres that he had not spoofed were historical epics and Biblical spectacles.^[6] History of the World Part I was a tongue-in-cheek look at human culture from the Dawn of Man to the French Revolution. The film was written, produced and directed by Brooks with narration by Orson Welles. It starred Brooks, Dom DeLuise, Madeline Kahn, Harvey Korman, Cloris Leachman, Ron Carey, Gregory Hines, Mary-Margaret Humes, Pamela Stephenson, Spike Milligan, Sid Caesar and John Hurt.

The episodic film begins with "The Dawn of Man" starring Sid Caesar as a Caveman who discovers fire and music. Next it covers "The Old Testament" where Brooks plays a bumbling Moses who breaks one of God's tablets thus denying humans of 5 of the original 15 commandments. In "The Roman Emperor", Brooks plays a stand-up philosopher who, along with a Vestal Virgin (Humes) and a slave (Hines), gets into trouble with Emperor Nero (DeLuise) and Empress Nympho (Kahn) but they manage to escape unharmed. Eventually Brooks gets a job as the waiter at the Last Supper of Jesus (Hurt). In "The Spanish Inquisition", Brooks portrays the violent and tragic Inquisition of Jews as a grandiose Busby Berkeley-like musical number. In "The French Revolution" Brooks plays both King Louis and the King's look-a-like "piss boy". He manages to help Mademoiselle Rimbaud (Stephenson) save her father (Milligan) from prison. The film's final section, "Coming Attractions", is a fake trailer for the sequel to the film and includes "Hitler on Ice" and "Jews in Space".

This film was another modest financial hit, earning $31 million. It received mixed critical reviews. Critic Pauline Kael, who for years had been critical of Brooks, said "Either you get stuck thinking about the bad taste or you let yourself laugh at the obscenity in the humor as you do Bunuel's perverse dirty jokes."^[6]

As part of the film's soundtrack, Brooks, then aged 55, recorded a rap entitled "It's Good to Be the King", a parody of Louis XVI and the French Revolution. It was released as a single and became a surprise dance hit in the United States.

In 1983 Brooks produced and starred in (but did not write or direct) a remake of the classic 1942 Ernst Lubitsch film. To Be or Not to Be was directed by Alan Johnson and starred Brooks, Anne Bancroft, Charles Durning, Tim Matheson, Jose Ferrer and Christopher Lloyd. The film was not a financial success, earning only $13 million.

The film spawned a highly controversial single that was featured as part of the film's soundtrack album (although not in the film itself) - "To Be Or Not To Be" (The Hitler Rap). The song - satirizing German society in the 1940s with Brooks playing Hitler - was an unlikely hit, peaking at #12 on the UK Singles Chart in February 1984 and #3 on the Australian Singles Chart (Kent Music Report) that same year.

The second movie Brooks directed in the 80s came in 1987 in the form of Spaceballs, a parody of science fiction, mainly Star Wars. The film starred Bill Pullman, John Candy, Rick Moranis, Daphne Zuniga, Dick Van Patten, Joan Rivers, Dom DeLuise and Brooks himself.

In the 1990s Brooks directed Life Stinks in 1991, Robin Hood: Men in Tights in 1993 and Dracula: Dead and Loving It in 1995. Life Stinks was a financial and critical failure, but is notable as being the only film that Brooks directed that is neither a parody nor a film about other films or theater (The Twelve Chairs was a parody of the original novel). It is also notable as being Brooks' last leading role in a film (as of 2011). Gene Siskel put Robin Hood: Men in Tights on his "Worst of 1993" list, saying that Brooks has "clearly lost his way" in comedy.

Brooks also had a vocal role in the 2005 animated film Robots. He then worked on an animated series sequel to Spaceballs called Spaceballs: The TV Series, which premiered on September 21, 2008 on G4 TV.

Musicals[link]

One of his most recent successes has been the transference of his film The Producers to the Broadway stage. The show broke the Tony record with 12 wins, a record that had previously been held for 37 years by Hello, Dolly! at 10 wins. Such success has translated to a big-screen version of the Broadway adaptation/remake with actors Matthew Broderick and Nathan Lane reprising their stage roles, in addition to new cast members Uma Thurman and Will Ferrell. In early April 2006, Brooks began composing the score to a Broadway musical adaptation of Young Frankenstein, which he says is "perhaps the best movie [he] ever made." The world premiere was performed at Seattle's most historic theater (originally built as a movie palace), The Paramount Theater, between August 7, 2007, and September 1, 2007 after which it opened on Broadway at the former Foxwoods Theater (then the Hilton Theater), New York, on October 11, 2007. It earned mixed reviews from the critics.

Brooks joked about the concept of a musical adaptation of Blazing Saddles in the final number in Young Frankenstein, in which the full company sings, "next year, Blazing Saddles!" In 2010, Mel Brooks confirmed this, saying that the musical could be finished within a year. No creative team or plan has been announced.^[20]

Legacy[link]

Brooks in April 2010

Brooks is one of the few artists who have received an Oscar, Emmy, Tony, and Grammy. He was awarded his first Grammy for Best Spoken Comedy Album in 1999 for his recording of The 2000 Year Old Man in the Year 2000 with Carl Reiner. His two other Grammys came in 2002 for Best Musical Show Album for the soundtrack of The Producers and for Best Long Form Music Video for the DVD "Recording the Producers - A Musical Romp with Mel Brooks". He won his first of four Emmy awards in 1967 for Outstanding Writing Achievement in Variety for a Sid Caesar special and went on to win three consecutive Emmys in 1997, 1998, and 1999 for Outstanding Guest Actor in a Comedy Series for his role of Uncle Phil on Mad About You. He won his three Tony awards in 2001 for his work on the musical, The Producers for Best Musical, Best Original Musical Score, and Best Book of a Musical. Additionally, he won a Hugo Award and a Nebula Award for Young Frankenstein. In a 2005 poll to find The Comedian's Comedian, he was voted #50 of the top 50 comedy acts ever by fellow comedians and comedy insiders. Three of Brooks's films are on the American Film Institute's list of funniest American films: Blazing Saddles (#6), The Producers (#11), and Young Frankenstein (#13).

Brooks developed a repertory company of sorts for his film work: performers with three or more of Brooks' films (The Producers, The Twelve Chairs, Blazing Saddles, Young Frankenstein, Silent Movie, High Anxiety, History of the World: Part I, Spaceballs, Life Stinks, Robin Hood: Men in Tights, and Dracula: Dead and Loving It) to their credit include Gene Wilder, Dom DeLuise, Madeline Kahn, Harvey Korman, Cloris Leachman, Ron Carey, Dick Van Patten and Andréas Voutsinas. Dom DeLuise appeared in six of Brooks's 11 original films, the only person with more appearances being Brooks himself.

Brooks and his wife Anne Bancroft acted together in Silent Movie and To Be or Not to Be and Bancroft also had a bit part in the 1995 film Dracula: Dead and Loving It. Years later, the couple appeared as themselves in the fourth season finale of Curb Your Enthusiasm, spoofing the finale of The Producers. It is reported that Bancroft encouraged Brooks (after an idea suggested by David Geffen) to take The Producers to Broadway where it became an enormous success.

In interviews broadcast on WABC radio, Brooks has discussed with NYC radio personality Mark Simone the possibilities of turning other works from his creative oeuvre (such as the movie Blazing Saddles) into future musical productions. Specifically, in a conversation airing March 1, 2008, he and Simone speculated on what show tunes might be incorporated into a theatrical adaptation of the Get Smart property.

On December 5, 2009 Brooks was one of five recipients of the 2009 Kennedy Center Honors at the John F. Kennedy Center for the Performing Arts in Washington, D.C.^[21]

On April 23, 2010 Brooks was awarded the 2,406th star on the Hollywood Walk of Fame.^[22]

Personal life[link]

Brooks with wife Anne Bancroft at the 1991 Cannes Film Festival.

Mel with son Max Brooks in April 2010

Brooks was married to Florence Baum from 1953 to 1962. Their marriage ended in divorce. Mel and Florence had three children, Stephanie, Nicky, and Eddie.^{[citation needed]}

Brooks was married to the actress Anne Bancroft from 1964 until her death from uterine cancer on June 6, 2005. They met at a rehearsal for the Perry Como Variety Show in 1961 and married three years later, August 5, at the Manhattan Marriage Bureau. Their son, Max Brooks, was born in 1972. In 2010, Brooks credited Bancroft as being the guiding force behind his involvement in developing The Producers and Young Frankenstein for the musical theater, citing an early meeting as "From that day, until her death on June 5, 2005, we were glued together."^[23]

Work[link]

Brooks at the White House for the 2009 Kennedy Center Honors

Writer/director[link]

• The Producers (1968) (Academy Award, best original screenplay)
• The Twelve Chairs (1970) (also actor)
• Blazing Saddles (1974) (also actor)
• Young Frankenstein (1974)
• Silent Movie (1976) (also actor)
• High Anxiety (1977) (also actor/producer)
• History of the World, Part I (1981) (also actor/producer)
• Spaceballs (1987) (also actor/producer)
• Life Stinks (1991) (also actor/producer)
• Robin Hood: Men in Tights (1993) (also actor/producer)
• Dracula: Dead and Loving It (1995) (also actor/producer)

Theatre[link]

• Leonard Sillman's New Faces of 1952 (1952) (sketches for a revue)
• Shinbone Alley (1957) (co-book-writer)
• All-American (1962) (book-writer)
• The Producers (2001) (composer, lyricist, co-book-writer, producer; Tony Award for Best Musical, Tony Award for Best Book of a Musical, Tony Award for Best Original Score, Drama Desk Award for Outstanding Lyrics, Drama Desk Award for Outstanding Book of a Musical)
• Young Frankenstein (2007) (composer, lyricist, co-book-writer, producer)

Other credits[link]

• Your Show of Shows (TV) (1950–1954) (writer)
• New Faces of 1952 (Broadway) (1952) (writer) and "New Faces", the 1954 film version (writer)
• The Critic (created and narrated, won Academy Award for Best Animated Short Film) (1963)
• Get Smart (TV) (1965–1970) (co-creator, writer)
• The Electric Company (TV) (1971–1977) (voice of recurring little cartoon man who asks: "Who's the dummy writing this show?!")
• Hollywood Squares (1972) (Guest star)
• When Things Were Rotten (1975) (co-created, writer)
• The Muppet Movie (1979) (Special Guest Star-Mad Scientist Professor Max Krassman)
• The Elephant Man (1980) (uncredited executive producer)
• To Be or Not to Be (1983) (actor, producer)
• The Fly (1986) (uncredited producer)
• The Fly II (1989) (uncredited producer)
• The Nutt House (1989) (co-creator)
• The Tracey Ullman Show (1990) (actor-Buzz Schlanger)
• Look Who's Talking Too (1990) (voice of Mr. Toilet Man)
• Frasier (1993) (voice of Tom)
• The Little Rascals (1994) (actor-Mr. Welling)
• Silence of the Hams (1994) (actor-Checkout Guest)
• The Simpsons (1995, "Homer vs. Patty and Selma") (voice-himself)
• Caesar's Writers (1996) (himself, panel member)^[24]
• Mad About You (TV) (1996–1999) (actor-Uncle Phil)
• The Prince of Egypt (1998) (uncredited, additional voices)
• Svitati (AKA Screw Loose) (1999) (actor-Jake Gordon)
• It's a Very Merry Muppet Christmas Movie (2002) (voice of Joe Snow)
• The Adventures of Jimmy Neutron: Boy Genius: Season 2 (2003) (voice of Santa Claus)
• Jakers! The Adventures of Piggley Winks (2003–2007) (voice of Wiley the Sheep)
• Curb Your Enthusiasm: Season 4 (2004) (actor)
• Robots (2005) (voice of Bigweld)
• The Producers (2005) (writer, producer, cameo as himself)
• Spaceballs: The Animated Series (2008) (writer, producer, voice)
• Get Smart (2008) (Consultant)
• The 2000 Year Old Man: The Complete History (2009) DVD ^[25]
• The Wizard of Oz (2012) (actor-The Wizard of Oz)^{[citation needed]}

Rotten Tomatoes ratings[link]

Collaborations[link]

	The Producers	Twelve Chairs	Blazing Saddles	Young Frankenstein	Silent Movie	High Anxiety	History of the World, Part I	Spaceballs	Life Stinks	Robin Hood: Men in Tights	Dracula: Dead and Loving It
Carol Arthur			N		N					N	N
Anne Bancroft			N		N						N
Mark Blankfield										N	N
Mel Brooks		N	N		N	N	N	N	N	N	N
Sid Caesar					N		N
Charlie Callas					N	N	N				N
Ron Carey					N	N	N
Megan Cavanagh										N	N
Ron Clark					N	N			N
Dom DeLuise		N	N		N		N	N		N
Liam Dunn			N	N	N
Marty Feldman				N	N
Sandy Helberg						N	N	N
John Hurt							N	N
Madeline Kahn			N	N		N	N
Harvey Korman			N			N	N				N
Cloris Leachman				N		N	N
Barry Levinson					N	N	N
Rudy De Luca					N	N	N	N	N	N	N
Kenneth Mars	N			N
John Morris	N	N	N	N	N	N	N	N	N
Howard Morris						N	N		N
Dick Van Patten						N		N		N
Robert Ridgely			N			N			N	N
Andréas Voutsinas	N	N					N
Albert Whitlock						N	N
Gene Wilder	N		N	N
Amy Yasbeck										N	N