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The decline of the Marx Brothers does not begin with ROOM SERVICE, which is hysterical at it's conclusion, but with AT THE CIRCUS. Groucho always insisted that had Irving Thalberg lived his care would have made the other films in the contract after A DAY AT THE RACES as good as that and A NIGHT AT THE OPERA. This meant that the film had to be taken on the road as a Vaudeville show, and the material tested carefully. But Thalberg was dead, and Louis B. Mayer was quite unsympathetic to these three clowns who were...well clowns, and who had gotten too good a sweetheart contract from Thalburg in terms of profits. Mayer thought of comedians as interchangeable, and could not care about allowing talented ones to test their material - you hand them a script and that was that: they are paid to make it funny. If they don't you fire them.

So it is traditional to blame AT THE CIRCUS, GO WEST, and THE BIG STORE on Mayer's hostility. That hostility played a major role (there is just no denying it), but in the case of AT THE CIRCUS there is another point that is frequently overlooked. In movies by comedians, it was rare for a circus comedy to be really funny. W.C.Fields, YOU CAN'T CHEAT AN HONEST MAN was an exception - a truly funny circus comedy, but it's strength was the film record of Field's radio feud with ventriloquist dummy Charlie McCarthy. Had it been set in a movie studio or a bank or a foreign country it would have been just as successful. But other comedians were not as lucky. Charlie Chaplin worked two years on THE CIRCUS, and while a good film it was not the great film he hoped to make. The atmosphere of a circus should have been inviting to comics - after all, here clowns were really clowns. But for some reason the special needs of movie funny-men were hard to translate into the atmosphere of the big top. Possibly the best use of the big top as a comic background was in Laurel & Hardy's short film THE CHIMP. The first quarter of the film shows how they wreck the circus (which was on it's last legs anyway). But the remaining three quarters of the film deal with the boys problems with a rooming house owned by a jealous Billy Gilbert, and the title "chimp" they hope to sell to a zoo.

With the Marxes the circus just does not absorb them too much. Groucho is there, hired as a lawyer to assist Kenny Baker and his pal Chico. Harpo, as Chico's brother, is a circus roustabout. But there is little example of their involvement in the circus life of the troop or of the animals (Harpo should have been involved with circus horses, anyway). Bits of the film are actually quite good - like Chico and Harpo trying to find papers in Nat Pendleton's (the circus strongman's) room. They manage to turn it into a Christmas nightmare for poor Pendleton. And Groucho certainly has two great moments: the business of trying to get on the circus train without knowing the password (even one of the animals knows the password), and his singing "Lydia The Tattooed Lady".

There were some cuts, apparently. Groucho had a sequence where his trial skills were shown in a court presided over by Edgar Kennedy. One wishes they had kept that in the film. The poor portions, mostly tied to the sickeningly sweet and naive Kenny Baker (fighting the crooked James Burke) are overwhelming. At least Groucho was able to have another session with Margaret Dumont as Mrs. Dukesberry (Baker's aunt), and poor Margaret gets shot out of a cannon in the end. But the drab spots outnumber the good ones. Not too bad, but still just mediocre as a result.

Not one of the best Marx Bros. Movies (i.e., Duck Soup, A Day at the Races, and A Night at the Opera) but also not one of the worst either. So, solidly mid-pack. The romantic subplot involving Florence Rice's character is a total waste of time because her suitor, the singer Kenny Baker (no, not Star Wars' Kenny Baker; this movie is from 1939!), is a terrible non-actor. Harpo's musical number, surrounded by black dancers, singers, and musicians, is way above average. And the best part of this one is the supporting role played by Eve Arden as a female "daredevil" circus acrobat who is also a pickpocket and scammer. As was so often the case with any movies featuring her "2nd banana" characters, she's the best thing about any scene she is in, and that's hard to pull off when Groucho Marx is your scene partner!

Middle-of-the-road Marxes, with some good scenes and laughs unevenly weighted down by those ever-intrusive and out-of-place musical numbers that so often plagued these movies. No, I'm not referring to Groucho's spirited rendition of 'Lydia the Tattooed Lady'; I'm talking about hearing those two useless lead lovers crooning their sappy romantic tunes to each other ('Two Blind Loves', which is sung over and over at intervals throughout the picture, is especially grating on the nerves). There is also a song and dance sequence that comes out of left field later in the film that really feels out of place and gets in the way of things.

There are certainly some witty Groucho zingers, as well as vintage Harpo madness, to be found here. It's just that there's not enough consistency and too much of the fluff. It's a pity the filmmakers just didn't realize that it's the Marx Brothers we're here to see; not Kenny Baker and Florence Rice.

The Marx Brothers burst onto the scene in the 1929 comedy "The Cocoanuts". Over the next few years they starred in some of the all-time classics, namely "Horse Feathers" and "Duck Soup".

Then something happened. I don't know the reason, but they left Paramount (which financed the aforementioned movies) and moved to MGM. By that point, MGM was well established as the domain of happy-go-lucky musicals, and it showed in the Marx Brothers' movies. Far from the biting satire of their earlier movies, these newer movies tended to show them performing antics in various settings: opera, horse racing, and now the circus. "At the Circus" is funny, but it's no "Duck Soup".

Ignoring all that, there's plenty of laughs to be had here (and quite a few hot babes). Enjoyable in that respect. Jerry Maren (Atom) is best known as one of the Munchkins in "The Wizard of Oz" and died only last year, making him not only the last surviving speaking cast member from TWoO, but the last surviving cast member from a Marx Brothers movie.

After 30 years, I just rewatched this latter-day Marx Brothers movie. After being loaned to RKO for Room Service, the Marxes return to M-G-M without their beloved mentor there, Irving Thalberg, having died during their last hit picture there, A Day at the Races. That movie was very enjoyable, if a little long. This one is much shorter, if not as funny. Still, there's more than enough highlights here: a couple of Chico and Groucho scenes like the "need-a-badge-to-get-on-train" and "new-cigar-needed-but-from-suspect-not-Chico", Groucho's number of "Lydia the Tattooed Lady", Harpo's number with some cool black singers mixed with his as-always touching harp solos, Chico's piano playing, and, of course, Groucho's wisecracks with Margaret Dumont, the unofficial fourth Marx brother now that Zeppo left by this time. Oh, and funny enough reunion with Nat Pendleton from Horse Feathers. Also, Fritz Feld has an amusing bit as a symphony conductor. The romantic leads of Kenny Baker, who I know from old broadcasts of radio's "The Jack Benny Program", and Florence Rice don't intrude too much so I didn't mind them or their singing. Oh, and Eve Arden was also a hoot opposite the one and only Groucho. So on that note, At the Circus is worth a look for any Marx fans out there, still.

Music was an integral part of Marx Brothers movies, showcasing Chico's tickling the keys on the piano and Harpo's harp strumming among other singing acts. In the comedy team's ninth film, October 1939's "At The Circus," a number songs and dances were planned, with a heavy dose of parody lyrics embedded in their catchy tunes. Trouble was, MGM boss Louis Mayer didn't feel music should be part of their repertoire. While in the middle of composing the music for the Marx's, songwriters Harold Arlen and E. Y. Harburg were pulled by Mayer to work on 1939's "The Wizard of Oz." Film historians feel his was a good move since the composers wrote some of cinema's best music for the Judy Garland picture, including its number one hit "Somewhere Over The Rainbow."

Before leaving the "At The Circus" production, the two composed one of the Marx Brothers most famous songs, "Lydia the Tattooed Lady." Sung by Groucho, this became his signature song throughout the remainder of his entertainment life. It has also become a staple of many film and television shows, including in 1976's 'The Muppet Show' and in the ninth and tenth seasons of TV's 'The Walking Dead.' The Marx Brothers, crossing the 50-year-old age mark, were looking to retire from film before they even read the script of "At The Circus." Chico's enormous gambling debts created a financial pinch for him, prompting Harpo and Groucho to agree to bail him out as long as he put half of his salary he earned from the movie into lifetime locked-in investments.

Ironically in "At The Circus" Chico plays Tony, an employee for a financially-distress circus whose owner Jeff Wilson (Kenny Baker) is depending on his wealthy aunt, Mrs. Susanna Dukesbury (Margaret Dumont), to provide funding. Tony recommends to Jeff his lawyer friend, J. Cheever Loophole (Groucho), to investigate the disappearance of $10,000 Jeff had saved to pay off his creditor John Carter (James Burke). The shark Carter wants to foreclose on the loan and own the circus when he stumbles across Jeff's hidden savings. With the help of circus strongman Goliath (Ned Pendleton) and Peerless Pauline (Eve Arden), he's able to steal the money.

Performers from the recently-defunct Hagenbeck-Wallace Circus, the second largest circus in the country who shut its doors after 31 years, were hired as extras for "At The Circus." Buster Keaton, near-bankrupt himself, was hired as a gag consultant for the Marx's. He proposed a number of visual jokes, but the brothers nixed them, feeling they didn't fit their brand of humor. Groucho complained to Keaton one day about his type of jokes. The former silent movie comedian confessed, "I'm only doing what Mr. Mayer asked me to do. You guys don't need help."

This was the first movie the Marx Brothers didn't try out their routines in front of live audiences before filming. One particular scene stands out, showing Eve Arden tucking the pouch of stolen money in her bra as Groucho catches what she's doing in the corner of his eye. He talks to the 'fourth-wall,' exclaiming, "There must be some way of getting that money without getting in trouble with the Hays office," meaning the movie censors. He has her perform her circus act by walking upside down on the ceiling, with hilarious results. "The film is definitely one of their finest comedies in terms of set pieces and gags as well as the willingness to bring in some anarchy into any kind of situation," praised Steven Flores, one of the film reviewers who loved the movie.

Groucho was beginning to lose his hair at this stage of his life, and is seen throughout "At The Circus" with an exaggerated toupee. He recalled years later how a stuntman, sweating profusely in a gorilla suit, cut holes in the rented outfit to make it cooler. Its owner was so upset he took back the suit, causing the prop department to scramble for another monkey suit, only to find just a smaller orangutan outfit. Groucho claims it's easy to tell the difference between the two suits.

"At The Circus" proved to be a mix bag for the critics, with Film Daily heralding "The mad Marxmen have never been funnier, nor have they had a better story in which to cavort," while Harrison's Reports labeled it "about the worst Marx picture seen in years. Children should enjoy it, but hardly any adults." The American Film Institute nominated the song "Lydia the Tattooed Lady" for its Top 100 Songs in Movies.

Mercilessly and outrageous Marx Brothers comedy that partially works well , thanks to some funny sketches , though they've done it better before . It suffers from excessive musical comedy plotting , but it gives the zany threesome some funny and really comic elaboration . Here the Marx Brothers try to help the owner of a circus recover some stolen funds before he finds himself out of a job. Antonio Pirelli (Harpo Marx) and Punchy (Chico Marx) , who work at the circus, together with roguish lawyer Loophole (Groucho Marx) , attempt to find the thief and get the money back. The 3 Mad Mullahs of Mirth in their grandest, goofiest roar rodeo! . A tentful of girl-gorgeous musical fun! . Not suitable for general exhibition ! .They're a circus.... in a circus !. This Way Folks...to a tentful of Girl Glamorous Musical Fun! A 30-ring circus of laugh-splashed thrills! The animals are in cages...but the Mad Marxes are on the loose! The Show of Shows...to keep the world Singing and Laughing!. Keep the world laughing!

Relentlessly comical and busy comedy with musical interludes that still works at times . Definitely sub-standard Marxism as the brothers set about saving a circus from bankruptcy in various hilarous set pieces. Amusing moments , mucho ado with badges , Groucho singing ¨Lydia the Tattoooed Lady¨ and the endless insulting repartee with Margaret Dumont , but the whole thing is rather dull and over-familiar. Beginning of the end for the Marxes , a step down in quality from their classic work , though frequently dam fun . Excellent Harpo Marx , as usual , he even did many of his own stunts , he later said it was a silly thing for a 49-year-old . At the Circus (1939) is annoyed by a lot of dated and bored songs , such as : Step up and take a bow , Lydia and Tattoed lady , two blind loves , blue moon . The motion picture was regular but professionally directed by Edward Buzzell , known for : Transient Lady (1935), Little Johnny Jones (1929) y Ain't Misbehavin' (1955) , among others .

Other important films starred by Marx Brothers -many of them Broadway farce plays transfered by scenarists into vehicle for the Brothers- , they are the following ones : ¨Animal crackers¨, ¨Duck soap¨ that was a flop when first released but today considered a masterpiece , ¨Horse Feathers¨, ¨At the circus¨, ¨A night at the Opera¨,¨Day at the races¨ , ¨Room service¨ , ¨Go West¨, ¨Love Happy¨ and ¨Night in Casablanca¨, though in 1946 the Marx formula was weak and wearing thin . Any film with Groucho , Chico , Harpo and Margaret Dumont is well worth seeing .

No, this isn't the Cecil B. De Mille big top opus, it's the Marx Brothers one. The boys were slowing down a bit when they made it, and as it came out in 1939, it kind of got buried under all the other movies of that remarkable film year, and is now somewhat neglected. This is a pity, for while it isn't their best movie, it's far from their worst. The plot isn't worth going into,--does anyone really want a synopsis of a Marx Brothers film?--and grande dame Margaret Dumont is on hand as the woman of Groucho's nightmares come to life. Kenny Baker and Florence Rice are the leads, and I've seen far worse. This isn't a belly laugh movie but it's very amusing. The production values are excellent, and the circus itself is fun, and so is the gorilla. Every comedian should encounter a gorilla at least once in his career. At the Circus is Groucho's chance, and it provides the movie with its funniest moment. This isn't a great comedy, but it's a very good movie.

The sad fact about the Marx Brothers is that after the movie A NIGHT AT THE OPERA, their career was all downhill. While A DAY AT THE RACES and ROOM SERVICE were still very good, their subsequent efforts were painfully ordinary and generally unfunny. It was like they were playing lethargic caricatures of themselves. And, from what I gathered, the Marxes WERE very content to just collect a paycheck at this point in their lives.

Some of the blame for the static nature of this film also must be given to MGM--a studio that had a history of ruining good comedians when they came under DIRECT MGM control (Laurel and Hardy's films were distributed by MGM but were created by the independent-minded Hal Roach Studios). If you don't believe me, look at all the Marxes films from the late 30s on as well as Buster Keaton's films of the 30s--they rely on an MGM formula and lack all the frenetic intensity of the comedians' earlier non-MGM efforts.

The film is a by-the-book effort where the Marx Brothers own a circus. Despite this, the film is low on energy and laughs--and should under no circumstances be confused with Chaplin's film The Circus.

I wrote this right after I saw it, without having read other comments on it. I have to say I'm appalled by the critical injustices done to this film. No joke flops in this Marx Brothers masterpiece. All three of the remaining brothers, Groucho, Harpo, and Chico, have a plethora of great scenes. Groucho has possibly his best line of his entire career. I won't ruin it for you. Chico's best moments are as Chiccolini in Duck Soup, but he is nearly as funny here. The scene in the midget's room is as funny a set piece as ever existed. Chico also has a great piano scene. Harpo is hilarious as well, playing a card game with a seal, and he delivers his best harp number. Usually they're awful, but the one here is great. He plays ambassador to the races again in this film, as he did in A Day at the Races. He dances around with a group of black people who show up out of nowhere. These scenes might be dated, but they're excellent in their context. I'd call them both scenes of great beauty, showing harmony between the races. Margaret Dumont, the fifth Marx Brother - well, maybe we out to call her the fourth; she's in more of them than Zeppo is! - is as funny as usual. The only let down is the romantic subplot, but you probably come to expect that from Marx Brothers' films. Perhaps the one here will be funny to you. The guy is one of the biggest dorks in history. His girl isn't too bad though. She has a great musical number with a horse. But even the two together have a decent scene where they sing to each other while they are desperately trying to lose a waiter who's intently watching their courtship. At the Circus contains maybe the best climactic sequence of their career, with the three brothers, Dumont, the villain, and a gorilla swing around on the trapeze swings. The final shot is a doozy, as well. 10/10.

So-so Marx Bros. effort is not in the same league as their earlier classics but it warrants a look if you have already seen those films. It's certainly better than most of their 1940s output. The plot's familiar enough: the Marx Bros. team up to help save a friend's business (in this case, a circus). The brothers are all in good form here, although they're mostly reworking old shtick. The scene in the midget's room is my favorite part. The obligatory lukewarm romance this time is supplied by Florence Rice and wall-eyed tenor Kenny Baker. The two also sing a couple of the movie's forgettable Arlen-Harburg tunes. The only good song in this is also one of the movie's highlights, "Lydia the Tattooed Lady," as performed by Groucho. A big plus in this movie's favor is the good supporting cast backing up the Marxes, including Nat Pendleton (in a Harpo wig), James Burke, Eve Arden, and the always fun Margaret Dumont. It's an enjoyable movie if one lowers expectations and doesn't expect something on par with Duck Soup or A Night at the Opera.

This was my third time watching AT THE CIRCUS and, the characteristically anaemic leads (who somehow always seem to be able to carry a tune) notwithstanding, I've always been kind of partial to this one (even if the end result is, decidedly, a notch or two below their finest work). Plot and setting provide several opportunities for the Marxes to shine, both as a team and individually: Groucho (as always) is the film's trump card, however, especially in his rendition of 'Lydia, the Tattooed Lady' and the separate scenes he shares with befuddled aristocrat Margaret Dumont and scheming circus performer Eve Arden; other highlights include Groucho and Chico's interrogation of the suspicious-looking dwarf, Chico and Harpo's frenzied search for stolen money in the strong-man's room (while the latter is asleep!), and the typically busy climax in which Dumont receives the ultimate humiliation.

AT THE CIRCUS is the Marxes' third best MGM picture (demonstrating a steady decline for them from picture to picture) but it's still inferior to the later A NIGHT IN CASABLANCA (1946), in my opinion – or any of their early Paramount films, for that matter.

There are a few highlight's in this one but overall, it's a pretty bad Marx Bros. movie. The plot is poor to start with, and even though I understand that it is only a vehicle for the Marx Bros. to do their thing, it started annoying me that they were helping these idiot circus owners(?). "Take a Bow" my a**.

Anywho, they do some pretty funny things in other people's carriages (yes, they're on a train), and Groucho has some really good one-liners. But, it lacks the momentum of other titles, and the musical parts are really, really dated. Ughhh...

Uhh boy. Get "Duck Soup" first OK?

AT THE CIRCUS (Metro-Goldwyn-Mayer, 1939), directed by Edward Buzzell, became the third collaboration of the Marx Brothers at MGM. Released just ten years following their movie debut in THE COCOANUTS (Paramount, 1929), this production, which shows great promise in placing those three clowns of comedy, Groucho (sporting a toupee), Chico and Harpo in a circus background, demonstrates just how much their comedies have declined and how little regard the powers that be at MGM had for them, particularly the mistreatment of Groucho's character in having him easily duped and pushed into a puddle of water during a heavy rain storm (Groucho quips: "If I get any drier, I'd drown!") by Chico. In spite of some low points such as the writers having Chico play such a stupid character, it does provide some great moments of hilarity, some by Harpo, who makes cinema history by breaking his code of silence by sounding out "Ah! Choo" while sneezing.

Plot summary: Jeff Wilson (Kenny Baker) is the owner of Wilson Wonder Circus, which consists of Julie Randall (Florence Rice), his fiancé/singer who performs a trick horse riding act; Peerless Pauline (Eve Arden), an acrobat who uses suction boots to perform her upside-down act; Goliath the strongman (Nat Pendleton - in make-up very similar to his Sandow character from 1936's THE GREAT ZIEGFELD, along with a curly wig that resembles him with Harpo); Punchy (Harpo), Goliath's assistant; and Professor Atom (Jerry Marenghi), a cigar smoking midget. Jeff owes $10,000 to John Carter (James Burke), and must meet his payment deadline or else face bankruptcy. That night, Jeff's cash settlement is stolen from him. Tony (Chico), a circus hand, helps Jeff by sending for his friend, attorney J. Cheever Loophole (Groucho), via telegram. Suspecting the robbery to be an inside job, Loophole and Tony play detectives by investigating the staff, and getting themselves in trouble during the process. In order to raise the money, Loophole acquires it from Suzanne Dukesberry (Margaret Dumont, who arrives very late into the story), Jeff's wealthy aunt who had disowned him, and in return, arranges to have Wilson's Wonder Circus perform at her estate in place for her hired orchestra, thus, turning a dull society function into a real three ring circus of confusion.

On the musical program composed by E.Y. Harburg and Harold Arlen, songs include: "Step Up and Take a Bow" (sung by Florence Rice); "Two Blind Loves" (sung by Kenny Baker and Florence Rice); "Beer Barrel Polka" (piano solo by Chico); "Lydia, the Tattooed Lady" (sung by Groucho); "Swingali" (performed by Harpo and black circus workers, a number quite similar to "Tomorrow is Another Day" from 1937s A DAY AT THE RACES, concluding with a Harpo harp solo); "Two Blind Loves" (reprise by Kenny Baker) "Step Up and Take a Bow" (reprise by Florence Rice), and Richard Wagner's Prelude to Act 3 from "Lohengrin" (conducted by Fritz Feld to his orchestra on a floating platform as they drift out to sea. Watch the finish to find out how and why).

AT THE CIRCUS suffers from poorly structured comic supplements, notably the beginning where Groucho is not to be admitted on the train by Chico without first showing his badge, which he does not have. Since Chico had sent for him in the first place, why such treatment? This routine would have served them better had Groucho's character been a total stranger. Groucho does get on the train, but with no indication as to how this was accomplished. Another weak link is Groucho's attempt in tricking a suspected midget into offering him a cigar so it can be compared with the one found at the scene of the crime. However, this proves impossible since Chico constantly offers his own cigar instead, foiling Groucho's plan even after Chico being told of the scheme in advance. A similar routine with Abbott and Costello or The Three Stooges would have succeeded simply because this is what's expected of them, or possibly by Groucho and Harpo, but in this instance, "close but no cigar." Aside from that, AT THE CIRCUS does redeem itself with Groucho's attempt retrieving the stolen money from Peerless Pauline's bosom after acquiring it from one of the crooks, and keeping it in a "safe" place. He looks into the camera saying, "There must be some way I can get that money back without getting in trouble with the Hays Office!"; Groucho's singing what was to become his signature song, "Lydia, the Tattooed Lady"; and the best saved for last being the circus finale at the Dukesberry estate. Any movie that has the straight faced Margaret Dumont shot from a cannon and swinging on the flying trapeze while the brothers attempt to rescue her (and being no help at all), makes up for the weakness that preceded this. And watch what the gorilla (man in gorilla suit, naturally) does for an encore after exposing the crooks. "Hey, Rube!"

Clocked at 87 minutes, one wonders how much better structured this story might have been had deleted scenes, such as the courtroom sequence involving legal eagle Loophole (Groucho) questioning defendants on the witness stand, remained instead of the "Swingali" number or the Kenny Baker tenor loving love songs. Originally available on video cassette since the 1980s and currently on DVD, this sawdust comedy can be seen on Turner Classic Movies. (***)

Ha ha! Made ya look! This is certainly NOT the best Marx brothers movie...or the second best...or the fifth best. But, it is better than Love Happy, Go West and The Big Store. And, there are funny lines like, "Bad luck...three on a midget"; moreover, Groucho sings "Lydia", a song he would later sing at Carnegie Hall.

Margaret Dumont is looking kind of old in this one. She still has class in her role as stuffy socialite. I found myself, when she had her buttocks stuck in a cannon, thinking to myself, "For God's sake, leave the poor old girl alone, won't you?".

Eve Arden is appropriately evil. The romantic male and female leads are appropriately forgettable. All in all, a mediocre film.

See it for closure...

I have been vocal before about my love for The Marx Brothers, but while I liked At the Circus on the whole it is also a little disappointing and lacks the exuberance evident in an outing like A Night at the Opera and Duck Soup.

My main problem with At the Circus is a similar problem to that I had with A Day at the Races- too many musical interludes. Don't get me wrong I like musical interludes but not when there are too many and cause the film to drag, which was the problem here. Some of them are nice and memorable, but others feel like filler and serve no real purpose. My next problem is to do with this somewhat, the exuberance is missing, not entirely but it is missing and consequently the film becomes rather sluggish. And the story isn't really anything special and seems restricted.

However, it is striking visually, the incidental scoring is very nice and the dialogue is humorous and quotable. Also the gags are great, the end scene is quite violent but it is good enough, but acquitting themselves even better are Groucho's elephantine flirtations with Margaret Dumont(in another sterling supporting performance!) and his charming rendition of "Lydia the Tattooed Lady". The trio are still splendid, even if some of the humour is less playful than usual, and their personalities come through loud and clear.

All in all, it is good and very entertaining, but I don't think it is the Marx Brothers' best. 7/10 Bethany Cox

Directed by Edward Buzzell. Starring Groucho, Chico, Harpo, Kenny Baker, Florence Rice, Margaret Dumont, Eve Arden, Nat Pendleton, James Burke, Fritz Field, Jerry Maren.

Marx Brothers take their madhouse antics to the circus world; Baker (not to be confused for the Kenny who plays R2-D2) tediously romances Rice, Burke plots against him, a guy in a gorilla suit swings on a trapeze, the usual. Groucho is in fine form, landing several choice one-liners (including a classic breaking-the-fourth-wall gag targeting the Hays Code) and belting out "Lydia the Tattooed Lady," his best song-and-dance number since "Duck Soup." Unfortunately, Chico and Harpo are mostly wasted (the latter is often upstaged by animals, especially a clever seal); peerless foil Dumont doesn't show up until almost an hour in, but her scenes with Groucho are still winners. Some gags are dated, most of the songs are signals to take a bathroom break. At the time of its release, the weakest effort yet for the venerable comedy troupe, but the trend would continue downward for the next couple years.

58/100

Groucho, Chico and Harpo are at their very best or even better-if that's possible-in this 1939 hit comedy At the Circus.Groucho's looking for loopholes as the eccentric lawyer called Loophole.Every line he delivers is something funny.And he also sings the great song Lydia the Tattooed Lady, which was heard also by Robin Williams in the movie The Fisher King many years later.Margaret Dumont, the haughty straight lady in the Marx movies, shines as Mrs. Suzanna Dukesbury.Kenny Baker and Florence Rice are terrific as the romantic, soon-to-be-married-couple.Eve Arden takes her act to the ceiling and also acts very well.Nat Pendleton as Goliath the Strongman gives a very strong performance.There are many scenes that are just fantastic and mostly awfully hilarious.There's also one beautiful scene, the one where Harpo Marx plays the harp with all those black women, children and men singing and listening.This is a perfect ten movie, something they don't make these days.Someone should bring the Marx brothers back.

Although not among the best of the Marx Brothers comedies, this film still has an abundance of their wild anarchistic fun and quite a few memorable scenes; the romance, however, well, you simply need to grin and bear it.

I love the Marx Brothers, but that doesn't mean all their films are gems. By the end of the 1930s, their best pictures were all behind them. Although still entertaining, they slipped a bit in quality. This is one example, except I would still rate it as "decent" (hence, the '5' rating).

One thing for sure: the comedy was a lot better than the music, although that was usually the case in most of their movies....but more so here. Even though I got my share of laughs, most the gags in this movie come in 5-10-minute "bits" and many of them go on too long. I still Chico provides the best humor among the boys. Except for "Lydia, The Tattooed Lady," the songs in here are weak and there are too many of them.

Silly, but still fun to watch, generally-speaking. I just skip through most of the songs.