tried, and found "incredibly guilty" by the jury. Before sentencing, Leo makes an impassioned statement praising Max for being his friend and changing his life. Max tells the judge that they have learned their lesson. Max, Leo, and Franz are sent to the state penitentiary. There they produce a new musical called Prisoners of Love, a show which looks even worse than Springtime for Hitler, mostly because Leo and Max are striving to make a good play instead of a bad one. While Max and Franz earnestly supervise rehearsals, Leo continues their old scam—overselling shares of the play to their fellow prisoners, and even to the warden. The song "Prisoners of Love" plays while the credits roll. Cast Zero Mostel as Max Bialystock Gene Wilder as Leopold "Leo" Bloom Dick Shawn as Lorenzo St. DuBois (L.S.D.) Estelle Winwood as "Hold Me! Touch Me!" Christopher Hewett as Roger De Bris Kenneth Mars as Franz Liebkind Lee Meredith as Ulla Renée Taylor as actress playing Eva Braun Andreas Voutsinas as Carmen Ghia Bill Macy as Foreman of the jury William Hickey as the drunk in bar (credited as Bill Hickey) David Patch as actor playing Joseph Goebbels Barney Martin as actor playing Hermann Göring Madelyn Cates as Concierge ("I'm not a madam!") Shimen Ruskin as The Landlord Frank Campanella as The Bartender Josip Elic as Violinist John Zoller as Drama Critic Brutus Peck as Hot Dog Vendor Mel Brooks as Singer in "Springtime for Hitler" (voiceover cameo, uncredited) The Ladies Anne Ives Amelie Barleon Elsie Kirk Nell Harrison Mary Love Production Writing and development The title Springtime for Hitler was first coined by Brooks as a joke during the press conference for All American in 1962. Shortly afterwards, he also decided to relate this title to a character named Leo Bloom, an homage to Leopold Bloom, protagonist of James Joyce's Ulysses. It was reused by him years later once he had an idea about "two schnooks on Broadway who set out to produce a flop and swindle the backers". The inspiration was some people Brooks met during his early show business days: Benjamin Kutcher, a New York producer who financed his plays by sleeping with elderly women, became the basis for Max Bialystock, and the scheme had origins in two theater producers who had a lavish lifestyle while making various unsuccessful plays. When imagining what play "would have people packing up and