http://www.imdb.com/title/tt0026778/?ref_=nv_sr_1 Zeppo is now gone pairing it down to three brothers, the Production Code is in full swing, and the brothers are now making movies for Irving Thalberg and MGM as opposed to Paramount. The style of Marx Brothers films will be very different from now on, and the first of these films is A NIGHT AT THE OPERA. The results are the greatest movie The Marx Brothers ever appeared in, but not the greatest Marx Brothers movie. When I say greatest movie they ever appeared in, I mean as far as storytelling, believable characters, steady pacing, and production values. You will never find a classier Marx film. To some, this may be a problem. The Paramounts were little worlds unto themselves filled with non stop verbal jokes and slapstick all over the place. Here, the jokes are less, the story is more, and the romantic couple, played by Kitty Carlisle and Alan Jones, get a prominent role.
Ah yes, the romantic couple, usually a problem in these comedy films. Cloying, unwanted, and juvenile, they take away time from our favorite comedians. That is the way I usually feel. A NIGHT AT THE OPERA is the one exception. It is the greatest comedy of all-time that involves romantic couples outside of the comedian(s) and excessive musical numbers, hands down, no contest. Ms. Carlisle and Mr. Jones play perfectly believable characters that are easy for me to like, sing extremely well, and take enough time, but not so much where we don't get enough Marx Brothers. I even like "Cosi, Cosa," God help me! Irving Thalberg must have had some secret formula to make a film like this work 100% to my tastes, so secret that no other film producer in the history of film knew about it.
As for the brothers themselves, they don't have the same quantity of comedy as they do in previous films, but the quality is at the same level. I basically enjoy every scene in this movie. Now comes the obligatory part where I have to name them. (Assumes Chico voice) Well, uh, OK, I a-try.
The contract "sanity clause" scene has always been a favorite of mine. I think it's hysterical the way Harpo knocks out his adversary and then gives him smelling salts, only so he can enjoy the simple pleasure of knocking him out again! Then Groucho and Chico put their feet on top of said adversary and do a hilarious contract negotiation scene. Notice the way the majority of this thing, as extended as it is, is in one take! Simply awesome, those two brothers worked amazingly well together.
What else? Well, there's Groucho's classic opening scene with Margaret Dumont. Great the way we find out she was stood up on a dinner date with Groucho, only to later find out Groucho was there the whole time at another table, back turned with another woman! After showing some Marxian class and leaving the other woman with the check, Groucho then proceeds to tell Ms. Dumont that he was with that other woman because basically every feature about the other woman reminds him of Ms. Dumont. Great scene.
The scene where they stuff as many people into that tiny storage room as possible only to have them fall out like an avalanche is a slowly built up masterpiece in itself. Eagle eyed Stooge fans, notice the man carrying Groucho to his room on the trunk, that's Gino Corrado!
Some character type changes is the fact the boys care about the lovers, something you'd never see at Paramount. Groucho delivering the "prescription" love letter is the most obvious. Chico and Harpo's instrumental solo scenes are great as usual, but notice the way children watch them in awe. I suppose children were laughing at Harpo in MONKEY BUSINESS during the hand puppet scene, but that was Harpo being a misfit. In this scene, those kids are in reverence of these likeable comics playing musical numbers. Definitely a sign of a softening image.
I can see whatever responses this review gets possibly knocking the things about this movie that are more standard at MGM than Paramount, but for this one film, I don't mind. Everything works fine for me.
One final observation I would like to make for any Buster Keaton fan reading this. Notice how both The Marx Brothers and Keaton's first MGM films are by far their best? The second one is good, but not as good, and then the fall happens in the third film. At least The Marx Brothers didn't fall as bad as Keaton, as I think every Marx Brothers film has its moments, but The Marx Brothers would never make a film this good again. Last week I said if you're new to the Marx Brothers, start at DUCK SOUP, I also want to say if you want to show someone a Marx comedy, and you're pretty sure they'll like it, start at DUCK SOUP. However, if you feel unsure and think they may need to be eased in, start here.
10/10