I cowboys del deserto

The movies from the Marx Bros. are just like my old Bowie's vinyls, or my Oscar Wilde's books: they're always there, and always will be. They're just like those old friends that will never let you down.

"Go West" has each and everyone of the essential ingredients of the movies from Groucho and co. : hilarious dialogs, crazy situations, Harpo's hooliganism, the music... everything goes as quick as a flash. So, if some youngster thinks that this movie hasn't anything to offer because it was made 65 years ago, thats belongs to the Pleistocenic... OK, I won't waste my time explaining why the Marx Brothers are bigger than life. I'd rather watch "Duck Soup" or "A Night At The Opera" one more time, and let the party begin once again...

*My rate: 8/10

After the success of A DAY AT THE RACES the Marx Brothers had a serious problem. The man who brought them back into the movie game has been Irving Thalberg, who took them seriously as comic artists, let them rehearse and hone their material on stage, and gave them a percentage of the gross sales, had died in 1937. Thalberg's rival, Louis B. Mayer grabbed control of Thalberg's production unit. Mayer (whose negative effects on careers from John Gilbert to Judy Garland are becoming more known as time passes) hated comedians, and he disliked people who got contracts that took profits away from his company. He was, in fact, a selfish individual who got his just deserts in the 1950s when he was thrown out of his job by his shareholders, and found nobody in Hollywood wanted anything to do with him.

Mayer had no great love for the Marxes, and allowed RKO a loan out of them for ROOM SERVICE. I feel that film has a lot still going for it, but many people don't like it as too confining for the antics of the Marxes. Then in 1939 MGM put them into AT THE CIRCUS, even bringing back Margaret Dumont. But the results are generally mediocre (although Groucho has one of his best songs, "Lydia the Tattooed Lady"). It was symptomatic of Mayer's lack of interest in their film work - they were not sent out to test their material.

Then in 1940 came GO WEST.

The Marx Brothers had not been the first comedians that Mayer disliked. He had a negative view of silent film genius Buster Keaton. Keaton's masterpieces of the silent films had been successful for the most part, but he had been produced by Joseph Schenck, his brother-in-law, and a rival of Mayer. Joe Schenck died in the early 1930s. At that time Keaton's films were not doing as well as in his heyday, mostly due to contracts with MGM that took away his independence in production matters. Also his wife, Nathalie Talmadge, was finding her movie stardom ending, and their marriage was collapsing. Keaton took to heavy drinking, which hurt his performances in the sound films he made. Jimmy Durante was co-starred in several films with Keaton, like THE PASSIONATE PLUMBER and WHAT, NO BEER! but though the men became friends their styles of humor did not mesh. By 1935 Keaton was a has-been in Hollywood, and by the end of the decade was only appearing in minor films as comedy relief, or used as a gag writer.

Possibly Mayer decided (for some twisted reason) to put Keaton on the writing staff for GO WEST. It certainly was not with any belief in the "Great Stone Face" as a gag man or a comedian. But it is also more than likely that he put him into it to damage the Marxes still more, and to humiliate Keaton. Knowing Mayer I would not put it past him.

Groucho Marx lived to become a national icon due to his movie, radio, and television career. In his later years (before senility began to affect him) he was invited on all the talk shows, and would discuss his brothers and their films, and comedy in general. He would also drop off his acid comments which made the audiences laugh (it helped Groucho that he lived long enough to find less censorship of his lines than he faced in the 1930s and 1940s). But he was a disagreeable man in private life, being thoroughly honest on one hand, but thoroughly nasty on the other. With Keaton, given his recovering alcoholic state in 1940, you had to be respectful and kindly.

Keaton had a dream that never reached the screen. In 1933 he had seen GRAND HOTEL, and liked the concept of interlocking stories involving sets of big name stars. He wanted to do a comic version called GRAND MILLS HOTEL, with himself, Laurel and Hardy, Marie Dressler, and other comedians (Edward Everett Horton was another) intermingling in a third rate hotel. The idea never came to fruition. No doubt, in thinking of it, Keaton might have considered having the Marxes in the film too. He was a genuine appreciator of comic genius.

But here it was 1940, and Keaton was working on a film with the Marxes. Keaton went to a script meeting, and outlined an idea for a scene. Groucho listened. His expression was bland. When it was finished, apparently with a sneer, Groucho said: "You really think that was funny?" Keaton, somewhat crestfallen, replied: "I just thought it might work...you fellows are pretty funny by yourselves."

There are Keatonian touches in the movie: Harpo's showdown with the saloon keeper town boss, where he pulls out a shaving brush that fires a shot into the floor. Also the wrecking of the train at the conclusion, which reminds one of Keaton's love of trains (OUR HOSPITALITY, THE GENERAL). Possibly he had a hand in the great opening of the film, where Groucho is the city slicker fleeced by Chico and Harpo when he tries to fleece them. It did not help GO WEST that only three years before Laurel and Hardy made one of their two best features, WAY OUT WEST, nor that W.C.Fields and Mae West did MY LITTLE CHICKADIE in 1939. Both of those films are way better than the slow going GO WEST.

One wishes that Groucho had been more charitable to Keaton, because the latter did finally find a comedian who listened and worked with him. That was Red Skelton, who would work on several films with Keaton in the late 1940s and early 1950s, one of which, A SOUTHERN YANKEE, is very funny indeed. But Keaton allowed Groucho precedence of being a successful comic in GO WEST, with mediocre results. Perhaps Groucho deserved the failure that resulted. Hubris is it's own reward.

'Go West' was the first movie from the Marx Brothers that I saw. Because I saw this one before their great movies like 'Duck Soup' I was able to appreciate this one completely. I don't want to call the movie great but since everything was new to me I had a very good time.

Groucho Marx is S. Quentin Quale and Chico and Harpo are the brothers Joe and Rusty Panello. The two brothers and Quale are heading west to find fortune. The movie starts with a very funny sequence where the two brothers steal some money from Quale. After this the movie has some slow sequences without very big laughs, especially when the brothers and Quale are not yet working together. There is a nice scene with Chico playing the piano in a great and very funny way that gives the movie some spirit again. Everything leads up to the scenes on a train and I have to say that once they are on the thing every gag is good for a laugh. May be some of the events are inspired by Buster Keaton's 'The General' but they're funny anyway.

Why the brothers and Quale have to work together, what the story is, is not really important. The story is just there to prepare a new joke. Because most of them work I think this is a very nice movie with a great start and finish and may be a part that is a little too slow in the middle. The Marx Brothers have a great talent for comedy and they do show that here, although we know they can do better.

I have to go back to being somewhat of a contrarian on this one. The consensus is that Go West is passable, at least, but not one of the better Marx Brothers films. Tied up with that is the fact that Go West is a late-career Marx Brothers film. It's in their MGM period, which many fans consider not as good as their earlier Paramount period. They were all around 50 years old while shooting this one. The follow-up was The Big Store (1941), after which they announced that they were officially retiring as a comedy team. They ended up doing a couple more films together in the 1940s--A Night in Casablanca (1946) and Love Happy (1949), but the conventional wisdom has it that those were provoked more by a need to pay for Chico's gambling debts than they were by a desire to make a film together (which is not to say that they're not good films).

For me, however, Go West is another excellent entry in a long string of Marx Brothers films that are primarily 10 out of 10s. Maybe it's that I'm also a big fan of westerns, but this western spoof is sublimely enjoyable. Western parodies were big in 1940, the year of Go West's first release (its wide release came in 1941), with W.C. Fields' My Little Chickadee premiering in February and Jack Benny's Buck Benny Rides Again opening in May. Perhaps because of that climate, Go West did better critically and popularly when it opened than would be indicated by its current "middling" reputation. But as with anything, there is a lot of crowd following in opinions on films. The consensus tends to evolve over time, despite the fact that the films themselves do not change.

Go West has Groucho Marx in his usual huckster mode as S. Quentin Quale. He's short $10 for his train fare to head to the western United States. He spots Joseph (Chico Marx) and Rusty Panello (Harpo Marx), takes them for a couple suckers and tries to bilk them of $10. But they're better con artists than he is, and end up ripping him off instead.

Somehow they all end up out west anyway. Joseph and Rusty come into possession of the deed to Dead Man's Gulch, which Terry Turner (John Carroll) was hoping to sell (his grandfather is the one who gave it to Joseph and Rusty) to the railroad magnates back east so they can complete the first transcontinental line. Go West ends up being about a number of people attempting to con each other out of money and the deed, in a race to see who can get it to New York first.

Of course, the plot is primarily an excuse for a series of gags. Like usual, the comedy in the film is a balance between slapstick and intellectual humor. Appealing to my tastes, the Marx Brothers are often surrealistic in their humor, as well, both verbally and visually. They continually play "games" with the conventions of film in general and the western in particular, making this clear right off the bat--any pretense at holding the plot supreme is joyously sabotaged in the first 10 minutes when Go West becomes an extended gag instead (as the brothers try to bilk each other out of the money needed for train fare). The gag could just as well be set on any stage, in any context, and work the same. The name of the game is irreverence--towards film, towards the genre, and towards various other conventions, including those they have established for themselves in previous films--and the Marxes do it as well or better than anyone else.

The gags are pleasantly varied, but the film has some wonderfully serious moments that work well, too. Each brother gets a song, and each song is at least semi-sincere. Chico shows off his skills at the piano, eventually playing in the upper registers with a piece of fruit. During a scene where they have to spend the night with an Indian tribe, Harpo transforms a loom into a harp and ends up performing a beautiful jazz tune. Groucho plays guitar and gives us slightly bizarre singing that resides somewhere between authentic blues and vaudeville goofiness. Although these moments might at first seem like unwelcome breaks from the otherwise madcap proceedings, the songs are magnificent, and temporarily become transcendent moments that one wishes wouldn't end.

Go West is most famous, perhaps, for its climactic train sequence, and rightfully so. The brothers channel the Keystone Cops and produce an extended series of increasingly outrageous, surreal and hilarious stunts/gags. Buster Keaton's infamous film The General (1927) was an obvious influence, and in fact, Keaton was an uncredited writer for Go West, as Keaton was employed as a gag writer for MGM at this time. I don't want to give any of the material away here, but it's worth watching the film for the climax alone, and in fact, during the pre-VCR days when 8mm home projectors were all the rage, the ending of Go West was siphoned off and marketed by itself.

The Marx Brothers' performances are fine, of course, as are all of the technical elements, but the rest of the cast is great, too. Just watch the subtle range of attitudes that the two "villains" progress through while chasing the train in their relatively simple cart, for example. And of course, like always, it doesn't hurt that there are beautiful women around, even if there not in the film that much.

While I agree that Go West is perhaps not the best Marx Brothers film, that's only because they have so many 10s that it's too difficult to pick. Even if you end up thinking that it pales compared to their Paramount-era work, Go West is still worth seeing.

Patchy but still fairly enjoyable Marx Bros. vehicle. Their unique brand of comedy adapts reasonably well to the Western format though, at the end of the day, a lot more could have been done with this situation; the film suffers in comparison with their 'classic' stuff, but even more so when measured against other comics' brush with the genre – particularly two ambitious Buster Keaton masterworks, OUR HOSPITALITY (1923) and THE GENERAL (1927), and Laurel & Hardy's (more straightforward but) equally delightful and inspired WAY OUT WEST (1937)!

That said, a number of scenes here deliver the goods: the ticket-office sketch at the beginning, the stagecoach ride, the robbery of the safe and, of course, the climactic train 'wreck; on the debit side: the songs in this one are particularly negligible.

My verdict, therefore, is that GO WEST is a worthwhile comedy but a lesser Marx Bros. film.