Casa Maluca

While I disagree with the conventional wisdom about the Marx Brothers' film made before The Big Store, Go West (1940), believing it to be yet another one of their many masterpieces, I have to agree with the conventional wisdom about The Big Store. It has the feeling of a contractual obligation film. One, two or all three of the Marx Brothers are absent for long periods of time. The story is often confusing. The film doesn't flow very well. Some of the material featuring other performers simply doesn't work. Even when it does work, it's never as good as the Marx Brothers' material, and even their work is too often strangely flat.

The Big Store is really the story of Tommy Rogers (played by famed pop singer Tony Martin). Rogers has just gained partial ownership of the Phelps Department store with the passing of a relative. However, he's not interested in the store, so he plans to sell and use the money to build a state of the art music conservatory in conjunction with his friend, Ravelli (Chico Marx). Unfortunately, not everything at the Phelps store has been on the up and up, and surviving store manager Mr. Grover (Douglass Dumbrille) is worried about buyers discovering their creative bookkeeping. So they try to off Tommy, which leads to hiring private detective Wolf J. Flywheel (Groucho Marx) and his assistant, Wacky (Harpo Marx), who happens to be Ravelli's brother. At the same time, Mr. Grover is courting Martha Phelps (Margaret Dumont), Tommy's aunt, with machinations of eventual ownership of the store.

In terms of meatiness, that's far more of a plot than I usually relay, but all of that is presented in the first 10 - 15 minutes of the film. The remainder involves playing out those threads. The problem is that the above is way too complicated, especially for a Marx Brothers film. The Marx Brothers style was that plots were really secondary to their anarchic, madcap skits. In truth, the two were usually well integrated in their films, with meatier plots than the conventional wisdom has it, and the skits relatively seamlessly enmeshed in the plots.

Here, the plot is often difficult to follow, and when you do manage to follow it, it just isn't that interesting. Despite this, there are still a number of fabulous set pieces. The scene where we first meet Groucho and Harpo in Groucho's private eye office is hilarious. The bedding department scene is good. The climax, featuring an extended chase through the department store, is a lot of fun, including its cartoonish use of wire stunts and camera tricks.

But there just isn't enough of that stuff, and one of the Marx Brothers' strongest points--Groucho's verbal bantering, is oddly flat just as often as it isn't. Even the usual musical sequences are problematic, unlike their sublime charm in Go West. Only Harpo's musical sequence and a brief duet with Chico on the piano are worthwhile. Groucho is given a schmaltzy "big musical production number" that goes on too long, is supposed to be funny and isn't, and ends up with Groucho doing little else but mugging and doing his trademark walk while other characters we're not familiar with sing the song.

Tony Martin has a song early on in the film that's okay, but doesn't exactly fit the tone of the film, and later, he does another "big musical production number", called "The Tenement Symphony", that is bizarre, to say the least, but not particularly funny. Instead, it's a strange mish-mash of styles that is strongly derivative (in a negative way) of George Gershwin.

While Marx Brothers completest certainly can't avoid The Big Store, it's difficult to imagine this being anywhere near the top of the list for any Marx Brothers fan. It's also not a great way to introduce anyone to their work (as they're likely to not be very interested in seeing more), and there are far better films for casual viewers who are not particularly interested in the Marx Brothers.

The few hilarious scenes could easily be excised and work just as well (if not better) in isolation, as "random" skits. But the film is very slightly recommendable for them.

Same old note: The Marx Brothers INGENIOUSLY twist any phrase or object into HILARITY.

Unfortunately, this film has a plot.

The usual hilarity when The Marx Brothers are left to their own devices, but too much screen time not dedicated to The Marx Brothers.

NOTE: If you have a heart-beat and love to laugh yourself silly, you MUST see Horse Feathers, Duck Soup, The Coconuts and Monkey Business.

When crooner Tommy (Tony Martin) inherits his father's lucrative department store, he hopes to sell it to open a music conservatory for disadvantaged boys. Shady store manager Mr. Grover (Douglass Dumbrille) has been embezzling from the place, so he tries to have Tommy killed before the deal can take place and reveal Grover's malfeasance. Tommy's aunt Martha (Margaret Dumont) hires private detective Wolf J. Flywheel (Groucho Marx) to be Tommy's bodyguard, and along with Flywheel's assistant Wacky (Harpo Marx) and Tommy's pal Ravelli (Chico Marx) they get into all sorts of trouble in the department store.

The Marx Brothers declared that this would be their last film together, and I can see why they wanted to give it up after this substandard outing. The jokes fall flat, and too much time is spent on other characters and Tony Martin's singing numbers. It's not a complete bust, and there are a few chuckles scattered about like rare gems. Groucho's scenes with Dumont are still funny. The Brothers eventually made a couple more together as finances necessitated it, but they never matched their early 30's heyday.

This latter Marx Bros. comedy still contains some vintage moments between Groucho and his longtime foil Margaret Dumont, with good comic dialogue written for Groucho once again. The scene where she visits his office to hire him as a detective, as he and Harpo pull off a ruse by making it appear that Groucho's not a starving nobody but a first-class private eye, is as good as anything I've seen in their other pictures.

Things get bogged down later with musical numbers (I mean, what else is new?), but I was impressed by many of the sets in the grand department store.

Some good, some not-so-good.

Well, folks, this is the final nail in the coffin. This film marks the final collaboration between the World's Greatest Comedy Team and MGM studios - and it's a pretty sad epitaph. It's not the Marxes' fault - 'twas MGM that slew the boys (they also successfully neutered Laurel & Hardy, the b*******!). They relegated one writer to this and their two previous films, rather than a team of scribes and refused to let them try their material out live. Plus, it's clear the studio really didn't have a firm grasp on their characters: in this film, "At the Circus," and "Go West," they allow Groucho, Harpo, and Chico to become victimized. This would be unheard of during the Paramount years. Even when misfortune falls on the three in "A Night at the Opera" and "A Day At the Races," they come back even stronger, making their foes wish they'd never been born. The Marx Brothers aren't supposed to take s**t from anybody! Well, there's still a few good moments (the opening sequence of Groucho and Harpo trying to impress Margaret Dumont in their run-down detective office) but many of the scenes are pale retreads of great bits from earlier films (plus, it has the most repellent musical number ever featured in a Marx movie - "The Tenement Symphony"... yow! What a big, brown floater that is!). But, hey, even marginal Marx Brothers is better than most anything else I can imagine. If you've never experienced the Fab Four-then-Three before, don't start here - try "Duck Soup," "Horse Feathers," or "Monkey Business."