Mel Brooks brings his one-of-a-kind comic touch to the history of mankind covering events from the Old Testament to the French Revolution in a series of episodic comedy vignettes.Mel Brooks brings his one-of-a-kind comic touch to the history of mankind covering events from the Old Testament to the French Revolution in a series of episodic comedy vignettes.Mel Brooks brings his one-of-a-kind comic touch to the history of mankind covering events from the Old Testament to the French Revolution in a series of episodic comedy vignettes.
- Awards
- 1 win & 1 nomination
Videos2
Rudy De Luca
- Prehistoric Manas Prehistoric Man
- (as Rudy DeLuca)
- …
- Director
- Writer
- Production, box office & more at IMDbPro
- All cast & crew
Storyline
From the dawn of man to the distant future, mankind's evolution (or lack thereof) is traced. Often ridiculous but never serious, we learn the truth behind the Roman Emperor, we learn what really happened at the Last Supper, the circumstances that surrounded the French Revolution, how to test eunuchs, and what kind of shoes the Spanish Inquisitor wore. —Murray Chapman <muzzle@cs.uq.oz.au>
- Taglines
- IN MEL WE TRVST
- Genres
- Certificate
- R
- Parents guide
Did you know
- TriviaAccording to Mel Brooks, the Moses scene was a last minute addition. "Sometimes, you will get very lucky, and the set will give you ideas for jokes", Brooks said in a 2012 interview with the Directors Guild of America. One day, he was gazing out at the scenery that had been built for the caveman segments, when the gears in his head started turning. "I immediately thought, 'Well, where do I go from here?'" Brooks recalled. Heading into the shoot, his plan was to "skip the Bible and go to Rome." But eventually, he realized that the Stone Age set might enable him to explore another chapter in world history. With a few minor alterations, Brooks converted his fake caves into a mountaintop, and the Moses bit was born.
- GoofsWhen Comicus performs a Caesar's Palace, he jokes about the Christians. Since the segment ends with the Last Supper, Christianity did not exist yet.
- Crazy creditsVESTAL VIRGINS Portrayed by Playboy Playmates and Models
- Alternate versionsThe German TV version is missing the "Hitler on Ice" segment during the finale. Also, there is a small bit missing in the stone age segment, showing the invention of art (wall painting), and the first critic taking a leak on the masterpiece.
- ConnectionsEdited from The Vikings (1958)
- SoundtracksThe Inquisition
Music and Lyrics by Mel Brooks and Ronny Graham
Performed by Mel Brooks Jackie Mason and Ronny Graham
Original Music & Lyrics © 1981 Brooksfilms Music Limited
Top review
I'm Still Awaiting Part II and "Hitler on Ice"
Mel Brooks did not invent the comedy spoof movie, but his best work ("Blazing Saddles", "Young Frankenstein", "Dracula, Dead And Loving It", and "High Anxiety") certainly make the most of it - even if some of it gets rather too dirty (literally dirty - "caca" dirty). "History Of The World" is a funny film, but it is not one of his best films. It looks like it was based on bits and pieces of ideas that could have been built up into separate movies: a film about the stone age, a film about the Roman Empire, a film about the French Revolution. I am sure that Brooks was inventive enough to have created three film spoofs, but for some reason he decided to just concentrate on pasting these mini-spoofs together.
It has wonderful moments in it - some are thrown away. The four desperate refugees from the Roman Empire, followed by centurions, pray for a miracle. Suddenly they see an old man - Brooks dressed like Moses (from an earlier sequence in the film). A river is parted like the Red Sea with "Moses" arms in the air. The refugees flee thanking God and Moses. In a moment we see there is a robber in back of "Moses" holding him up (hence his arms in the air), and when the robber leaves the old man starts cursing him.
Similar stuff is throughout the film (typical of Brooks' inventiveness). After fleeing Rome, Brooks has reached Palestine and is the waiter serving the "Last Supper". Besides having a problem when he keeps saying "JEEZUS" causing John Hurt (who is Christ) to ask, "Yes?", there is the problem of the painting being done by Da Vinci (Art Metrano), and how Brooks manages to get into the background of the masterpiece - holding his tray like a halo behind Hurt).
Brooks uses a number of his regulars in the film: Madeline Kahn as the Empress Nympho, Dom DeLuis as the Emperor (one could call him "piggy" after one particular comment about his eating habits), Harvey Korman as the foppish Count du Monet, Sid Caesar as a caveman who is full of awe. He was also lucky to have Gregory Hines, usually a dancer but here a strikingly breezy comic, and Orson Welles doing the narration properly (note his voice's confusion at the start when describing the first heterosexual marriage, followed by the first homosexual one).
The disjointed style is a minor problem in enjoying the film. Judging from the final scenes from the sequel, Brooks could have done a Viking movie, a skating film about Nazism, and a space musical about the Jews. Alas, only those scenes were ever shot. A second part might not have been a great film either, but it would have been quite as amusing.
It has wonderful moments in it - some are thrown away. The four desperate refugees from the Roman Empire, followed by centurions, pray for a miracle. Suddenly they see an old man - Brooks dressed like Moses (from an earlier sequence in the film). A river is parted like the Red Sea with "Moses" arms in the air. The refugees flee thanking God and Moses. In a moment we see there is a robber in back of "Moses" holding him up (hence his arms in the air), and when the robber leaves the old man starts cursing him.
Similar stuff is throughout the film (typical of Brooks' inventiveness). After fleeing Rome, Brooks has reached Palestine and is the waiter serving the "Last Supper". Besides having a problem when he keeps saying "JEEZUS" causing John Hurt (who is Christ) to ask, "Yes?", there is the problem of the painting being done by Da Vinci (Art Metrano), and how Brooks manages to get into the background of the masterpiece - holding his tray like a halo behind Hurt).
Brooks uses a number of his regulars in the film: Madeline Kahn as the Empress Nympho, Dom DeLuis as the Emperor (one could call him "piggy" after one particular comment about his eating habits), Harvey Korman as the foppish Count du Monet, Sid Caesar as a caveman who is full of awe. He was also lucky to have Gregory Hines, usually a dancer but here a strikingly breezy comic, and Orson Welles doing the narration properly (note his voice's confusion at the start when describing the first heterosexual marriage, followed by the first homosexual one).
The disjointed style is a minor problem in enjoying the film. Judging from the final scenes from the sequel, Brooks could have done a Viking movie, a skating film about Nazism, and a space musical about the Jews. Alas, only those scenes were ever shot. A second part might not have been a great film either, but it would have been quite as amusing.
helpful•327
- theowinthrop
- Jul 9, 2006
Details
Box office
- Budget
- $11,000,000 (estimated)
- Gross US & Canada
- $31,672,907
- Opening weekend US & Canada
- $4,792,731
- Jun 14, 1981
- Gross worldwide
- $31,672,907
Contribute to this page
Suggest an edit or add missing content

Top Gap
By what name was History of the World: Part I (1981) officially released in India in English?
AnswerRecently viewed
Please enable browser cookies to use this feature. Learn more.