Un jour au cirque

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.

Which is to say, neither the Marx Brothers' best nor their worst, but the end of their great period and the beginning of their decline. MGM was simply a studio that (with few exceptions) didn't understand comedy. After this GO WEST has its moments, but THE BIG STORE is nearly a complete waste of time (and when I say "nearly" I'm being charitable --- offhand I can't thing of a single good thing to say about it).

AT THE CIRCUS, on the other, hand, still has many things to recommend it, if you have the iron will it takes to sit through the incredibly schmaltzy and irritating "love" angle. Lots of funny one liners, Harpo riding around on an ostrich and bopping people with his horn, the problematic "Swingali" number (which offends many people but somehow only makes me reflect that Harpo transcends racial barriers), a guy in a gorilla suit, and last but very, very far from least, "Lydia the Tattooed Lady".

For that number alone you should see this movie. Of course if you're a Marx fan you've seen it anyway --- you've probably even seen LOVE HAPPY.

Ugh.

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.

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!

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.