Movie Reviews: More Marx Brothers Films

Here's some more reviews of Marx Brothers' movies. After they left Paramount, the boys made films at MGM for Irving Thalberg and then for other studios. See my review of the Paramount movies here.

A Night at the Opera (1935) directed by Sam Wood

Otis B. Driftwood (Groucho Marx) has attached himself to Mrs. Claypool (Margaret Dumont), a widowed millionaire who wants to get into high society. Driftwood's plan is for her to donate to the opera. He knows Gottlieb (Sig Ruman), an opera producer who wants to hire a star to go to New York. Gottlieb has his eye on Rudolfo Lassparri (Walter King), an arrogant star who is abusive to his dresser (Harpo Marx) and romantically pursues young singer Rosa (Kitty Carlisle). Rosa actually likes the young tenor Barone (Allan Jones) who does not have enough reputation to be a star. Driftwood goes to the opera house to hire the best singer. He runs into Fiorello (Chico Marx), who is pals with Barone. Driftwood makes a contract to hire Fiorello's guy, not realizing the tenor is not Lassparri. Everyone gets on a boat for America, including stowaways Fiorello, Barone, and the dresser. Antics ensue on the boat and in New York as the young couple tries to be a success and the Marx Brothers try to stay out of jail.

This movie is a small departure for the Marx Brothers in that the plot is a lot stronger and ties in better to the routines. The contract signing scene is the classic "Sanity Clause" routine. Other famous routines are the overpacked stateroom on the boat (Groucho has a small room and too many people squeeze in) and an apartment-switching scene. Chico and Harpo get to perform musical numbers on piano and harp. The movie has some opera numbers too, giving some respect to the art while skewering the pomposity found in opera. Groucho goes through his standard wooing and mocking of Dumont that is less funny ninety years later. She handles it so well. Overall, the movie is a delightful, madcap time.

Highly recommended. This and Duck Soup are their best films.

A Day at the Races (1937) directed by Sam Wood

In Upstate New York, the Standish Sanitarium (this is the old meaning "sanitarium"--a place where sick people convalesce, not an insane asylum) is failing economically. Judy Standish (Maureen O'Sullivan) is about to default on their debt. Even with the help of Tony (Chico Marx), she can't get enough people to come there--all the town's visitors want to go to the race track and casino nearby. Judy's boyfriend Gil (Allan Jones) is a singer at the casino, earning some money. He has sunk his life savings in a horse that he's sure will win enough to save the sanitarium. The trick is to keep the sheriff from seizing the horse because of Gil's debts (feeding and housing a horse is not cheap). Tony overhears the wealthy convalescent Mrs. Upjohn (Margaret Dumont) singing the praises of Dr. Hackenbush (Groucho Marx), a Florida doctor who got her into her hypochondriac state. Chico sends an invitation to Hackenbush, who is actually a horse doctor. Hackenbush gladly comes and hopes to cash in with the job and Mrs. Upjohn. Meanwhile, the track owner is scheming to get the sanitarium and turn it into a hotel. Chaos ensues when Hackenbush arrives and has to bluff his way through the sanitarium and the race track.

This movie ticks all the Marx Brothers boxes. It has the ridiculous romantic relationship between Groucho and Margaret Dumont, who are both on top form. It has musical performances by Chico and Harpo. It has gratuitous musical numbers, including an extended Jazz scene with an almost entirely African-American cast. It has a classic comedy routine between Groucho and Chico. It has an absurd pantomime between Chico and Harpo. The movie is delightfully madcap from beginning to end.

Highly recommended--this is a top-tier Marx Brothers film. 

Room Service (1938) directed by William A. Seiter

Groucho is Gordon Miller, a stage producer who can't get his production going due to lack of money. He and the company have been staying in his brother-in-law's hotel, racking up a huge bill. The hotel brings in a hardliner to get the books straightened out, which spells trouble for Miller and company. The comedy antics flow from there.

The movie has a fun premise but is hampered by being limited almost entirely to the hotel room sets. While it has funny moments, it's not the brothers' best work. Lucille Ball has a supporting role and does quite well against the veteran comedians. 

Mildly recommended.

At the Circus (1939) directed by Edward Buzzell

Circus manager Jeff (Kenny Baker) needs to pay off $10,000 to Carter (James Burke) to own the circus free and clear. He'll get the money with with one more day of performances, but Carter wants the circus and gets some of the performers to conk Jeff on the head and steal the money. Luckily (though whether it is good or bad luck is up for debate) Antonio (Chico) works for the circus as an assistant and hires Attorney Loophole (Groucho) to handle legal affairs. Loophole does some private investigation to figure out who stole the money with the help of Antonio and Punchy (Harpo). Jeff wants to marry horse trainer/performer Julie (Florence Rice), but needs to clear up the debt before he can get married.

The plot is the usual excuse to string together routines and musical numbers, though the individual bits are more tied to the plot than usual. Jeff and Julie have a love song, Chico has a piano solo, Harpo has a harp solo, Groucho and Chico have a routine about badges to get on the circus train, and Margaret Dumont shows up at the end as a love interest/comic foil for Groucho. All the typical elements are on display with plenty of funny moments, including Groucho singing "Lydia, the Tattooed Lady." This is not their best work but it is entertaining.

Recommended.

Go West (1940) directed by Edward Buzzell, co-written by Buster Keaton

It's 1870 and the railroad is making its way across the United States (and the territories). Young man Terry Turner (John Carroll) wants to marry Eve Wilson (Diana Lewis) but their families have been feuding since his grandpa sold some worthless land to her grandpa in a swindle. He's trying to fix the situation by convincing the railroad to buy the land for their line. Other locals are set on selling their own land or swindling the lovers out of their land. Enter the Marx Brothers, obviously on the side of the young lovers. The usual antics ensue--sight gags, absurd conversations, solos by Chico on the piano and Harpo on the harp, musical numbers, etc.

The movie has a lot more plot to it than most other Marx Brothers films. The gags are well integrated into the story and the finale is a chase on a railroad train that was clearly inspired by co-writer Buster Keaton. A lot of the comedy stunts on the train are classic Keaton fair, done quite well by the Marxes. The film does not have any really great routines but is a lot of fun.

Recommended--this is the top of their second tier films.

The Big Store (1941) directed by Charles Reisner

Groucho is Wolf J. Flywheel, a private investigator and body guard. He is hired by Martha Phelps (Margaret Dumont) because she is worried about her nephew Tommy Rogers (Tony Martin). Tommy has inherited half of Phelps Department Store (Martha has the other half) but some crooks want him out of the way. The manager has been cooking the books and wants to stop Tommy from selling his share which will reveal the irregularities. Wolf has an assistant Wacky (Harpo) who runs around with him. Ravelli (Chico) works at a conservatory teaching piano, the same conservatory where Tommy learned music and where he wants to invest the money from the sale. Tommy is also dating Joan (Virginia Grey) who works in the music department of the store. The typical antics ensue.

The Marx Brothers formula is wearing a little thin by this point. A lot of the contrivances of the plot, which normally slip by unnoticed in the comedic chaos, stick out. The set-pieces (the automated bed department and the musical numbers) look big but don't deliver the laughs like in other pictures. They have a chase on roller skates through the store that is entertaining. Otherwise, this is an unremarkable outing for the Marxes.

Mildly recommended.

A Night in Casablanca (1946) directed by Archie Mayo

In what starts as a send-up of the Humphrey Bogart classic Casablanca, Groucho is hired as the manager of a hotel that has had a string of managers die in mysterious circumstances. It turns out that Nazis want to get control of the hotel so they can get some stolen WWII treasure out of there and over to South America. The undercover Nazi Henrich Stubel (Sig Ruman) has Harpo as his incompetent valet, always messing up his clothes and other things. Chico is a camel merchant who helps out at the hotel. There's a handsome young American Pierre (Charles Drake) who also wants to recover the treasure to clear his name of wrongdoing--the Nazis forced him to fly from Paris with the stuff and he contrived to crashland in Casablanca. He's been stuck ever since and has fallen for local girl Annette (Lois Collier). 

Typical Marx Brothers antics ensue, with comic set pieces and musical interludes. The satire of Casablanca gets dropped pretty quickly once the Marx brothers start their routines. A big action set-piece ends the film, a bit of a change from their regular shtick. The film is entertaining enough but on the low end of their works.

Mildly recommended.

Movie Review: Marx Brothers' Paramount Films

This little movie series is available on DVD as The Marx Brothers Silver Screen Collection, which comes with a bonus disc of special features. The films were made for Paramount Studios before the Marx Brothers were brought over to MGM by Irving Thalberg for another series of films. Here are reviews in chronological order...

The Cocoanuts (1929) directed by Robert Florey and Joseph Santley

This first Marx Brothers film is based on a stage play with music and lyric by Irving Berlin. Groucho Marx is Mr. Hammer, a Florida hotel owner hoping to make a lot of money selling off real estate lots in nearby Cocoanut Grove. One porter at his hotel, Bob (Oscar Shaw), is in love with Polly Potter (Mary Eaton). Bob hopes to become an architect but that is not enough to impress Polly's mom (Margaret Dumont). She'd rather Polly married Harvey Yates (Cyril Ring). Harvey has a lot of debts and wants to marry Polly for money. He also wants to steal the mother's necklace and has an accomplice in Penelope (Kay Francis), who is in the room next to Mrs. Potter. He enacts both schemes (marrying Polly and stealing the necklace) though he gets frustrated by the interference of Harpo (Harpo Marx) and Chico (Chico Marx). 

The movie has the fourth Marx brother, Zeppo, in a minor role as a desk clerk. Surprisingly, the movie features a lot of run time without the other brothers, even though they are the "above the title" stars. There's several dance numbers with troops of female dancers (and no Marx Brothers in sight) and plenty of romantic plot between Bob, Polly, and Harvey (Bob and Polly have a romantic duet that gets a reprise). The film is a good intro for the Marx Brothers and introduces some of their typical routines (an absurd conversation/argument between Groucho and Chico, a piano solo by Chico, a harp solo by Harpo, an elaborate set-piece comedy routine with the three of them (poor Zeppo, already the underused spare)). The show has plenty of funny moments but it is not as great as later films.

Mildly recommended--Marx Brothers fans should watch this at least once.

Animal Crackers (1930) directed by Victor Heerman

Famed African explorer Captain Spaulding (Groucho Marx) has returned and is being feted by Mrs. Rittenhouse (Margaret Dumont) at her estate. She is also premiering a painting by Beauregard brought by a shady collector (Louis Sorin). Two scheming neighbors plan to substitute the painting for a copy made by one of them and thus embarrass Rittenhouse. Mrs. Rittenhouse's daughter Arabella (Lillian Roth) wants her boyfriend John (Hal Thompson) to substitute his own copy of the painting to establish himself as a fine artist, giving him enough of a career to let them marry. This framework provides enough plot to hold together a string of musical numbers and comedy routines. It's the typical anarchy of the Marx Brothers (Chico and Harpo are also guests and involved in the painting thefts; Zeppo is Spaulding's secretary).

The movie is a fun outing for the Marx Brothers, with the standouts being the "Hooray for Captain Spaulding" number and Groucho making fun of Eugene O'Neill soliloquies. Greater works would come later but this is a fine bit of entertainment.

Recommended.

Monkey Business (1931) directed by Norman McLeod

The Marx Brothers are stowaways on a ship headed to New York. While they spend time dodging the captain and his crew, they also wind up embroiled in a gang rivalry. One gangster's wife has taken up with Groucho, mostly in ridiculous dance numbers; the other gangster's daughter is romantically interested in Zeppo. All four brothers are hired as bodyguards, two for one gangster, two for the other. The conflict comes to a head in New York at an "introduction to society" party for the daughter that results in a kidnapping and a rescue.

The plot is a slim excuse for antics by the Marx Brothers, including hiding out in various disguises on the ship, impersonating Maurice Chevalier when trying to disembark, and chasing skirts here, there, and everywhere. While the settings are broader than their first two films (which were originally stage plays), the comedy isn't as strong and the skits are randomly strung together. It's a fun time but doesn't have the sparkle of other outings.

Mildly recommended.

Horse Feathers (1932) directed by Norman McLeod

Groucho Marx stars as Quincy Adams Wagstaff, a man just hired by Huxley College as their president. He has a son (Zeppo Marx) who has been at the college for twelve years and has been dating the "college widow," which seems like an excuse to squeeze in a female character. The college's big problem is their football team, the real source of revenue and prestige (yes, even in the 1930s, it was that bad). Rival Darwin College has beaten them every year for far too long. Wagstaff hires some ringers at a local speakeasy but naturally hires the wrong guys--Chico and Harpo Marx. Chico is a speakeasy employee and Harpo is the local dog catcher. Darwin has hired the real ringers so things don't look so good for Huxley.

The plot is strong enough to hold together a bunch of comedy routines, songs, and musical performances. The comedy is more hit than miss. The songs are unremarkable. Chico's piano playing and Harpo's harp performance are impressive and enjoyable. Overall, it's a good time though there's nothing particularly memorable in this film, other than the password is "swordfish."

Mildly recommended.

Duck Soup (1933) directed by Leo McCarey

Groucho Marx is Rufus T. Firefly, the man destined to lead Freedonia in a time of great trial. The previous ruler has left the country in economic trouble and Mrs. Teasdale (Margaret Dumont) wants Firefly to fix it. She also has more affection for him than he probably deserves. Ambassador Trantino (Louis Calhern) from Sylvania wants to marry Teasdale and take over Freedonia. His plans are thwarted by Firefly, who insists on insulting Trantino in any way possible and not taking any guff in return. Trantino hires Chicolini (Chico Marx) and Pinky (Harpo Marx) to spy on Firefly, but they spend more time tormenting a local lemonade vendor (Edgar Kennedy) than undermining the Firefly administration. 

The plot strings together a lot of gags, songs, and routines by the Marx Brothers. The outstanding bits are the "Freedonia is Going to War" musical number and the very famous broken mirror scene--Groucho is in a nightshirt and Harpo, after dressing as Groucho and breaking a mirror, acts as Groucho's mirror image. The running gag with the motorcycle and side car works is great too. The film is a lot of fun and doesn't overstay its welcome. 

Highly recommended--this is probably the best of the Marx Brothers along with A Night at the Opera.

Movie Review: A Day at the Races (1937)

A Day at the Races (1937) directed by Sam Wood

In Upstate New York, the Standish Sanitarium (this is the old meaning "sanitarium"--a place where sick people convalesce, not an insane asylum) is failing economically. Judy Standish (Maureen O'Sullivan) is about to default on their debt. Even with the help of Tony (Chico Marx), she can't get enough people to come there--all the town's visitors want to go to the race track and casino nearby. Judy's boyfriend Gil (Allan Jones) is a singer at the casino, earning some money. He has sunk his life savings in a horse that he's sure will win enough to save the sanitarium. If he can keep the sheriff from seizing the horse because of Gil's debts (feeding and housing a horse is not cheap). Tony overhears the wealthy convalescent Mrs. Upjohn (Margaret Dumont) singing the praises of Dr. Hackenbush (Groucho Marx), a Florida doctor who got her into her hypochondriac state. Chico sends an invitation to Hackenbush, who is actually a horse doctor. Hackenbush gladly comes and hopes to cash in with the job and Mrs. Upjohn. Meanwhile, the track owner is scheming to get the sanitarium and turn it into a hotel. Chaos ensues when Hackenbush arrives and has to bluff his way through the sanitarium and the race track.

This movie ticks all the Marx Brothers boxes. It has the ridiculous romantic relationship between Groucho and Margaret Dumont, who are both on top form. It has musical performances by Chico and Harpo. It has gratuitous musical numbers, including an extended Jazz scene with an almost entirely African-American cast. It has a classic comedy routine between Groucho and Chico. It has an absurd pantomime between Chico and Harpo. The movie is delightfully madcap from beginning to end.

Highly recommended--this is a top-tier Marx Brothers film. 

Movie Review: A Night at the Opera (1935)

A Night at the Opera (1935) directed by Sam Wood

Otis B. Driftwood (Groucho Marx) has attached himself to Mrs. Claypool (Margaret Dumont), a widowed millionaire who wants to get into high society. Driftwood's plan is for her to donate to the opera. He knows Gottlieb (Sig Ruman), an opera producer who wants to hire a star to go to New York. He has his ey on Rudolfo Lassparri (Walter King), an arrogant star who is abusive to his dresser (Harpo Marx) and romantically pursues young singer Rosa (Kitty Carlisle). Rosa actually likes the young tenor Barone (Allan Jones) who does not have enough reputation to be a star. Driftwood goes to the opera house to hire the best singer. He runs into Fiorello (Chico Marx), who is pals with Barone. Driftwood makes a contract to hire Fiorello's guy, not realizing the tenor is not Lassparri. Everyone gets on a boat for America, including stowaways Fiorello, Barone, and the dresser. Antics ensue on the boat and in New York as the young couple tries to be a success and the Marx Brothers try to stay out of jail.

This movie is a small departure for the Marx Brothers in that the plot is a lot stronger and ties in better to the routines. The contract signing scene is the classic "Sanity Clause" routine. Other famous routines are the overpacked stateroom on the boat (Groucho has a small room and too many people squeeze in) and an apartment-switching scene. Chico and Harpo get to perform musical numbers on piano and harp. The movie has some opera numbers too, giving some respect to the art while skewering the pomposity found in opera. Groucho goes through his standard wooing and mocking of Dumont that is less funny ninety years later. She handles it so well. Overall, the movie is a delightful, madcap time.

Highly recommended. This and Duck Soup are their best films.

Book Review: Giraffes on Horseback Salad by J. Frank et al.

Giraffes on Horseback Salad: The Strangest Movie Never Made written by Josh Frank, adapted with Tim Heidecker, and illustrated by Manuela Pertega from screenplay notes and treatment by Salvador Dali for a Marx Brothers movie

A strange artistic friendship grew up between Harpo Marx of the Marx Brothers and Salvador Dali, the surrealist artist from Spain. Dali came to America during the Spanish Civil War and met Harpo. Dali had seen some of the Brothers' films and saw a lot of surrealist potential. He and Harpo worked on a screenplay treatment that was reject by the studio as being unfilmable and worse, unprofitable. Dali worked on the screenplay on and off over the years, mostly scribbling ideas and sketches in a notebook that was thought to be lost. Author Josh Frank hunted down the notebook in a European collection, had it translated, and worked up a script based on the notes and the treatment. He worked with an illustrator to make this graphic novel of the work. 

The book has some introductory material on the movie and the relationship between Harpo and Dali, then it presents the "movie" in 1940s style, with lobby cards and an intermission note. The main story is about a rich Spanish businessman who is engaged to a socialite (who is a bit of a harpy) but becomes fascinated one night by the Surrealist Woman. They are at a nightclub where the Surrealist Woman weaves her magical, incomprehensible visions into reality. The socialite is not amused and actively tries to distract the businessman and complains about the Surrealist Woman to her friends. Groucho and Chico Marx work for the Surrealist Woman and create the sort of antics that they always do. Harpo only appears as the businessman's shadow, occasionally bursting forth as his own person (but only very sporadically). The book is full of elaborate surreal imagery that the characters move through as the plot moves along.

I had a very mixed experience reading this book. The imagery was imaginative and elaborate, clearly unfilmable back in the day. Maybe this could have been made as an animated film in the 1940s or as a CGI extravaganza today. The plot was fairly simplistic, though that is typical of Marx Brothers films where the plot mostly serves to string together comedic set-pieces. Some of the comedy is taken directly from other films, which is disappointing. The conflict between reality (represented by the socialite) and surreality (represented by the Surreal Woman) was interesting but too self-aware. Surrealism works best when it does not comment on itself. Hearing about the friendship was the best part of the book, though it is a minor part of the book.

Not recommended unless you are interested in Dali or the Marx Brothers.

Movie Review: Horse Feathers (1932)

Horse Feathers (1932) directed by Norman McLeod

Groucho Marx stars as Quincy Adams Wagstaff, a man just hired by Huxley College as their president. He has a son (Zeppo Marx) who has been at the college for twelve years and has been dating the "college widow," which seems like an excuse to squeeze in a female character. The college's big problem is their football team, the real source of revenue and prestige (yes, even in the 1930s, it was that bad). Rival Darwin College has beaten them every year for far too long. Wagstaff hires some ringers at a local speakeasy but naturally hires the wrong guys--Chico and Harpo Marx. Chico is a speakeasy employee and Harpo is the local dog catcher. Darwin has hired the real ringers so things don't look so good for Huxley.

The plot is little more than an excuse to string along a bunch of comedy routines, songs, and musical performances. The comedy is more hit than miss. The songs are unremarkable. Chico's piano playing and Harpo's harp performance are impressive and enjoyable. Overall, it's a good time though there's nothing particularly memorable in this film, other than the password is "swordfish."

Mildly recommended.

Movie Review: Duck Soup (1933)

Duck Soup (1933) directed by Leo McCarey

Groucho Marx is Rufus T. Firefly, the man destined to lead Freedonia in a time of great trial. The previous ruler has left the country in economic trouble and Mrs. Teasdale (Margaret Dumont) wants Firefly to fix it. She also has more affection for him than he probably deserves. Ambassador Trantino (Louis Calhern) from Sylvania wants to marry Teasdale and take over Freedonia. His plans are thwarted by Firefly, who insists on insulting Trantino in any way possible and not taking any guff in return. Trantino hires Chicolini (Chico Marx) and Pinky (Harpo Marx) to spy on Firefly, but they spend more time tormenting a local lemonade vendor (Edgar Kennedy) than undermining the Firefly administration. 

The plot is more or less an excuse to string together a lot of gags, songs, and routines by the Marx Brothers. The outstanding bits are the "Freedonia is Going to War" musical number and the very famous broken mirror scene--Groucho is in a nightshirt and Harpo, after dressing as Groucho and breaking a mirror, acts as Groucho's mirror image. The running gag with the motorcycle and side car works well too. The film is a lot of fun and doesn't overstay its welcome. 

Highly recommended--this is probably the best of the Marx Brothers along with A Night at the Opera.