A Night at the Opera (1935)
A Night at the Opera (1935)
1935’s A Night at the Opera is my first foray into the work of the Marx Brothers. As someone who wants to familiarize myself with the history of cinema from the very beginning, I felt it was important to understand who these brothers were because they are all-time comic legends. They are the kings of slapstick and that was made prevalent in this movie, one that many people proclaim their best. I cannot judge that statement yet, but I can say I thoroughly enjoyed this movie. A great comedy? I do not think so. A fun, 95-minute exercise in comedy? Sure, let’s go with that. There are plenty of jokes that I found hilarious and memorable, but others that do fall flat. But isn’t that the whole point of the Marx Brothers’ routine?
Before this film, the brothers were at Paramount Pictures and their style of comedy was different. There might be somewhat of a resemblance towards a plot, but the emphasis was mainly given to the slapstick and the jokes. It was a free-for-all as everyone in those movies would fall victim to the jokes. Then, the Brothers moved to MGM. Producer Irving Thalberg suggested a change to their routine. Why not add a realistic plot to these jokes? What about making the characters more sympathetic? He wanted the brothers to be given more respect from the audience, especially the females. For example, Groucho was more likable, and Chico was given more intelligence. Of course, Harpo still likes to toot his horn.
An Italian tenor, Rodolfo Lassparri is chasing after his leading lady, Rosa Castaldi (Kitty Carlisle). Rosa does not think much for the man as she loves the unknown tenor, Ricardo (Allan Jones). Ricardo just needs to show the world how talented he is. This is where the Marx Brothers come in. Otis B. Driftwood (Groucho Marx) convinces a Mrs. Claypool to invest $200,000 in the New York Opera Company, which would allow the company to hire Lassparri. He and Rosa board a ship to New York. Ricardo, along with his friend Fiorello (Chico Marx) and Lassparri’s former dresser Tomasso (Harpo Marx), board the same ship to the city. Once these stowaways are caught, they and Driftwood needs to avoid the authorities if they have any chance in helping Rosa and Ricardo.
Stay for the Marx Brothers! They are what makes this movie entertaining. The way they treat their villains is quite funny. The screenplay from George S. Kaufman and Morrie Ryskind has plenty of fast-paced, witty dialogue. In fact, my favorite quote from the movie is actually known as one of the best quotes of all time from any film.
Otis B. Driftwood: “It’s all right. That’s in every contract. That’s what they call a sanity clause.”
Fiorello: “You can’t fool me. There ain’t no Sanity Claus.”
The interactions between these characters are nothing short of greatness. That overcrowded statesroom scene is one of the most iconic and influential moments from the film. I noticed in future films/television shows that have similar scenes. This is where it all started.
As for the rest of the film, it’s mostly all right. Kitty Carlisle isn’t the most memorable leading lady and her interactions with Ricardo can be stuffy at times. MGM, which is known for its big musical numbers, added some of these numbers to this movie. I liked some of them. The others are mainly forgettable. I liked how they actually used real opera numbers. The show Il Trovatore is a very popular Italian opera.
Overall, A Night at the Opera is a fun and entertaining movie thanks to the hijinks of the Marx Brothers. This was the right film to introduce me to these colorful characters. While I’m indifferent to the rest of the plot or characters, I was immersed in these brothers whether it is the fast-talking Groucho or Harpo who only uses his horn to communicate. Because it has an actual plot and sympathetic characters, this film one of their better efforts according to historians. Off to a good start in my personal opinion.
My Grade: B
1935’s A Night at the Opera is my first foray into the work of the Marx Brothers. As someone who wants to familiarize myself with the history of cinema from the very beginning, I felt it was important to understand who these brothers were because they are all-time comic legends. They are the kings of slapstick and that was made prevalent in this movie, one that many people proclaim their best. I cannot judge that statement yet, but I can say I thoroughly enjoyed this movie. A great comedy? I do not think so. A fun, 95-minute exercise in comedy? Sure, let’s go with that. There are plenty of jokes that I found hilarious and memorable, but others that do fall flat. But isn’t that the whole point of the Marx Brothers’ routine?
Before this film, the brothers were at Paramount Pictures and their style of comedy was different. There might be somewhat of a resemblance towards a plot, but the emphasis was mainly given to the slapstick and the jokes. It was a free-for-all as everyone in those movies would fall victim to the jokes. Then, the Brothers moved to MGM. Producer Irving Thalberg suggested a change to their routine. Why not add a realistic plot to these jokes? What about making the characters more sympathetic? He wanted the brothers to be given more respect from the audience, especially the females. For example, Groucho was more likable, and Chico was given more intelligence. Of course, Harpo still likes to toot his horn.
An Italian tenor, Rodolfo Lassparri is chasing after his leading lady, Rosa Castaldi (Kitty Carlisle). Rosa does not think much for the man as she loves the unknown tenor, Ricardo (Allan Jones). Ricardo just needs to show the world how talented he is. This is where the Marx Brothers come in. Otis B. Driftwood (Groucho Marx) convinces a Mrs. Claypool to invest $200,000 in the New York Opera Company, which would allow the company to hire Lassparri. He and Rosa board a ship to New York. Ricardo, along with his friend Fiorello (Chico Marx) and Lassparri’s former dresser Tomasso (Harpo Marx), board the same ship to the city. Once these stowaways are caught, they and Driftwood needs to avoid the authorities if they have any chance in helping Rosa and Ricardo.
Stay for the Marx Brothers! They are what makes this movie entertaining. The way they treat their villains is quite funny. The screenplay from George S. Kaufman and Morrie Ryskind has plenty of fast-paced, witty dialogue. In fact, my favorite quote from the movie is actually known as one of the best quotes of all time from any film.
Otis B. Driftwood: “It’s all right. That’s in every contract. That’s what they call a sanity clause.”
Fiorello: “You can’t fool me. There ain’t no Sanity Claus.”
The interactions between these characters are nothing short of greatness. That overcrowded statesroom scene is one of the most iconic and influential moments from the film. I noticed in future films/television shows that have similar scenes. This is where it all started.
As for the rest of the film, it’s mostly all right. Kitty Carlisle isn’t the most memorable leading lady and her interactions with Ricardo can be stuffy at times. MGM, which is known for its big musical numbers, added some of these numbers to this movie. I liked some of them. The others are mainly forgettable. I liked how they actually used real opera numbers. The show Il Trovatore is a very popular Italian opera.
Overall, A Night at the Opera is a fun and entertaining movie thanks to the hijinks of the Marx Brothers. This was the right film to introduce me to these colorful characters. While I’m indifferent to the rest of the plot or characters, I was immersed in these brothers whether it is the fast-talking Groucho or Harpo who only uses his horn to communicate. Because it has an actual plot and sympathetic characters, this film one of their better efforts according to historians. Off to a good start in my personal opinion.
My Grade: B
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