Skandal in der Oper

Groucho Marx is in his element as slick, fast talking business manager Otis B. Driftwood, who spends his time playing up to arts patron Mrs. Claypool (classic Marx Bros. foil Margaret Dumont). When he sees that she's willing to pony up $1,000 a night to have pompous Lassparri (Walter Woolf King) sing, he wants a piece of the action. Circumstance soon throws him together with equally sly Fiorello (Chico) and goofy Tomasso (Harpo), as they become determined to help out young lovers & aspiring opera stars Rosa (Kitty Carlisle) and Ricardo (Allan Jones).

Even if one is not a fan of the opera, they shouldn't let that dissuade them from checking out the Marx Bros. in their glory. Some buffs consider this their best film, and it certainly shows off their talents to memorable effect. Musical interludes do go on a bit long, but the quality of the comedy when it occurs is top notch. There are some truly great bits in here, like the "party of the first part" contract, the overcrowded (to say the least) stateroom sequence, and the frantic, farcical efforts of Otis, Fiorello, Tomasso, and Ricardo to pull the wool over the eyes of a suspicious inspector (Robert Emmett O'Connor) by moving beds from one room to another.

Groucho is hilarious, as always. Very few entertainers in film history can fire off a one-liner as snappily as he does. Chico and Harpo have their wonderful moments, as well. (It's such a hoot when Harpo does a Spider-Man routine near the end.) Carlisle and Jones are extremely appealing, Dumont is once again a fine "straight woman", King is an appropriately snooty villain, Sig Ruman is superb as eternally frustrated Gottlieb, and O'Connor is likewise good as the antics of Otis and company take a toll on him.

The pace isn't always consistent, but there is some enjoyable action and first rate stunt work. Overall, this is a solid comedy / musical that will appeal to any lover of this era in cinema.

Eight out of 10.

No doubt that "A Night at the Opera" is right up there with "Duck Soup" as the best Marx Brothers movie. Some Marx-purists complain "ANatO" is when the brothers started to grow soft and their quality started to decline. For one thing, instead of ridiculing romantic couples (the love story subplot plays a big part), they support them. Also, it's not as surreal or satirical as their past films. To those purists, I say: Lighten up! "ANatO" is just as funny as anything the Marx Bros did in the past (heck, I think it's funnier than "Monkey Business"), and it's withstood the test of time perfectly. In fact, "ANatO" is said to be Groucho's favorite; he even called his previous films "duds"! The film is filled with jabs at the upper class and double entendres courtesy of Groucho. Sample:

Mrs. Claypool: Do you have everything, Otis?

Otis: I haven't had any complaints yet!

The love story subplot isn't as nauseating as 1937's "A Day at the Races". Allan Jones may be a bit too mushy, but Kitty Carlisle, the love interest, is cool and calm enough to help it go down easily (that's really her singing, by the way). Chico and Harpo have some inspired moments, such as their gleeful butchering of "Il Travotore" (sp?). The hapless villains are the funniest Marx foils ever, and the finale is just uproarious. "ANatO" is a wonderfully silly romp, and it's rather harmless, so kids can probably watch and enjoy it. The famous stateroom scene is nothing short of brilliant, and you'll find yourself humming along to "Cosi Cosa" (I just wish the ballad "Alone" had been left, well, alone). Don't miss this hilarious masterpiece. And now, on with the opera!!

I didn't fully appreciate this film until my second viewing. Now I think it's one of the better Marx Brothers film. The film - filled with funny lines - has all the familiar MB trappings: good slapstick, good and bad jokes and routines, wild scenes, several musical numbers and general overall chaos.

The only thing not appealing to me in the film were some of the songs - not all, just some. Otherwise, it was all fun as Groucho, Chico and Harpo all share humorous lines and/or sight gags. Kitty Carlisle doesn't offer much in the way of a young beauty but it was still interesting to see her at this age as I had only known her through her "To Tell The Truth" television days. Alan Jones, meanwhile, is a pleasing singer and a nice guy, as always.

This is the film with the famous scene involving a ton of people being stuffed into Groucho's small cabin room. It's more amazing than funny. My favorite scenes were when Groucho and Chico got into discussions and trade lines back-and- forth. I also laughed heartily at the finale with Harpo swinging like Tarzan at the opera house.

In all, a funny MB film, one of the boys' better efforts. I play it with the English subtitles so as not to miss any of the great lines of dialog in here.

"A Night at the Opera" is great Marx Brothers entertainment. It has comedy, music, and a good cast - everything except Zeppo, who by this time had left the act. It fully deserves its reputation as one of the two best Marx Brothers films, along with "Duck Soup".

"A Night at the Opera" is probably slightly less funny than "Duck Soup" (it is no criticism to say that of any film), but it has more of a story to connect the great comic bits. There is a good supporting cast in both films - here Sig Ruman is especially funny, in addition to the perennial Margaret Dumont. It also has several fairly long musical interludes - some are operatic, but the most entertaining is Chico and Harpo's impromptu shipboard entertainment.

Of course, the real attraction in any of these films is the comedy, and there are some memorable bits in this one. The contract negotiations between Chico and Groucho, and the scene in Groucho's stateroom, are especially hilarious, and you have to see the stateroom scene more than once to catch everything. And for sustained zany humor, the climactic sequence at the opera might be the funniest part of all.

This is certainly a must for Marx Brothers fans.

A NIGHT AT THE OPERA (MGM, 1935) directed by Sam Wood, re-introduces the Marx Brothers to the screen following their five years at the Paramount studio (1929-1933) to MGM, this being the start of a new beginning and the end to their wild world of comedy. It also brings forth their most popular comic foil of all, Margaret Dumont, from their Broadway to Paramount days, and the return to a formula story and time out for musical interludes either by the brothers or the romantic lovers originally done in their initial films of THE COCOANUTS (1929) and ANIMAL CRACKERS (1930). Aside from now being The Three Marx Brothers (Zeppo who has since retired), their characters have been toned down a bit, which helps. However, at MGM, with this, their best film for the studio, Groucho and Harpo become victims instead of instigators, with such notable scenes as Harpo employed as a dresser for an abusive opera tenor (Walter Wolfe King) who slaps, hits and uses a whip on him (at one point off camera) whenever getting out of line with his buffoonery, and Groucho, who always wins out in every situation physically and verbally, getting kicked down four flights of stairs, which indicates they are not always indestructible, yet remain in character from the old days whenever possible. Chico retains his wiseacre Italian character, remaining notably the same from his previous efforts, however, things will start to change not for the better for him and his brothers in the movies to follow.

Plot summary: Introduction takes place in Milan, Italy, where Otis B. Driftwood (Groucho) agrees to represent dowager Mrs. Claypool (Margaret Dumont) into society by arranging for her to invest $200,000 to Herman Gottlieb (Sig Ruman), director of the opera company so that he can afford to bring opera singers Rudolpho Lassparri (Walter King) and Rosa Castaldi (Kitty Carlisle) to New York City. Rudolpho loves Rosa, but she is more interested in Ricardo Baroni (Allan Jones), an unknown singer working as a chorus-man, but with the help of Fiorelli (Chico), acting as his manager, and his partner, Tomasso (Harpo), the trio head for America by becoming stowaways on the S.S. Americus, hiding out in Driftwood's tiny stateroom in order for Ricardo to get his big chance as a singer. After Driftwood and his cronies arrive in at the Metropolitan Opera House, thanks to them in disrupting Rudolpho's performance that the art of opera will never be the same again.

The musical program: "Alone" (sung by Kitty Carlisle and Allan Jones) by Nacio Herb Brown and Arthur Freed; "Cosi-Cosa" (sung by Allan Jones) by Bronislau Kaper, Walter Jurmann and Ned Washington; "All I Do is Dream of You" (by Brown and Freed/piano solo by Chico Marx); "Alone" (harp solo by Harpo Marx); and selections from Il Trovatore by Guiseppi Verdi: "Di quella pira," "Miserere," "Anvil Chorus," "Stride la Vampa" "Strido lassu" and "Miserere." Allan Jones and Kitty Carlisle doing their duet, "Alone," him on the pear and she from the boat dock, Chico's fast finger piano playing, and Harpo's harp solo in a serious manner as he performs to a little old lady (facial shadow front only) who looks on approvingly, may not be highlights, but are truly memorable moments.

Highlights: Whenever anyone goes into discussion regarding A NIGHT AT THE OPERA, the first thing that comes immediately to mind is that famous state room scene involving Groucho, Chico and the sleeping Harpo, with various others involved, crammed together until the door opens, having them all falling out like dominoes. This hilarious bit is one that's remembered best with fondness and admiration. However, there are others worth noting: The opening where Dumont awaits for Groucho at a restaurant for an hour only to find him at the table behind her eating with another lady, is priceless; Groucho and Chico contract exchanges that becomes a "sanity clause"; arrested stowaway Harpo's attempt in escaping his detention cabin by crawling out of a porthole and hanging onto a rope outside only to be dumped into the ocean; Jones, Chico and Harpo in bearded disguises posing as celebrity aviators to give speeches on coast-to-coast radio, with the silent Harpo covering up his muteness by constantly drinking glasses of water; the disappearance of beds in Groucho's hotel room while the plainclothesman detective (Robert Emmett O'Connor) investigates; and of course, the climactic opera chaos by the Marxes, with one great bit with the orchestra playing the overture to "Take Me Out to the Ball Game" after coming to the page with the planted song sheets, with Groucho acting as a vendor yelling "Peanuts! Peanuts!" to the patrons. A classic with Callas.

The supporting players: Newcomer Allan Jones steps in for the role that might have been offered to Zeppo. He is a likable actor with a fine singing voice who performs well opposite Kitty Carlisle (another recruit from Paramount and rare screen appearance, being best known as the TV panelist in the long running quiz show, "To Tell the Truth").

Footnote: It is quite evident that prints that have been circulating since commercial television days isn't complete. Missing footage is quite evident during the opening minutes of the story where the movie originally began with a musical number prior to the restaurant scene involving Groucho and Dumont. At present, this, along with other cut footage, no longer exists. Timed at 96minutes, the 90 minute version is the one available on Turner Classic Movies, VHS and DVD formats. Maybe one of these years a completely restored print of A NIGHT AT THE OPERA will suffice, but for now, this will have to do.

In closing: Get out those opera glasses and have yourself a grand night at the opera. (***1/2)