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Night at the Opera

Ring a Ding Ding

Night at the Opera (1935)

     I must not be most people because “most people” find A Night at the Opera to be the best Marx Bros. movie. Although I concede this MGM-produced picture is more accessible than the men’s Paramount-produced movies, I like the the zanier nonsense plots than I do this normal comedy embellished with Marx humor.

     The brothers start their scheme in Italy where Groucho‘s mark Mrs. Claypool, played by Marx regular Margaret Dumont, is being convinced to donate to the New York Opera Company so it can hire a famous Italian singer, Rudolpho Lassparri (Walter King). Chico is pals with a less-noticed tenor in the Italian opera and tries to finagle a deal for that singer as he confuses Groucho. Harpo is again a pal of Chico’s character and has been employed as a dresser for Lassparri until he is discovered wearing several layers of the theater’s costumes.
     The lesser-known tenor, Ricardo Barone (Allan Jones), is in love with opera singer Rosa, played by Kitty Carlisle, who has also attracted the attention of Lassparri. The more prestigious tenor arranges for the woman to come to New York with him and be his leading lady. The next step of the plot involves the trip to New York via steamship.  Although Lassparri, Rosa, Mrs. Claypool and Groucho all have tickets for passage, Chico, Harpo and Ricardo stow away by commandeering Groucho’s trunk. Groucho’s state room also happens to be the size of a closet, yet the trunk, the men and a whole slew of servants and strangers crowd into the room until they literally burst out.
     While aboard the boat, the men entertain some gypsy-types with their musical talents while trying to avoid being caught by ship personnel. To depart the vessel without getting caught, the three stowaways pose as foreign, bearded aviators and then are forced to make speeches –or in Harpo’s case, refuse to– before a crowd of Americans there to welcome them. A detective continues to hunt the men who arrived in the U.S. under “false pretences”, which eventually leads them to the opera house where the Marx Bros. are creating chaos and annoying the snooty audience. What finally turns the performance around for the men and the audience is Ricardo taking over for Lassparri as the lead.
     No matter how much a screenwriter/studio might try to make me care about the other characters in a Marx Bros. movie, I could not be less interested. What I think makes A Night at the Opera better liked among the average audience is that it balances and mixes the adventures of the Marx men with their surrounding cast members. I continue to prefer, however, the Horse Feathers and Monkey Business stories that have the comedians’ plots having little to do with the story driving all other characters. That is in large part because the scenes with the Marxes were borrowed from their stage acts and so did not rely on the plot. I find these exchanges more comically effective, however, than A Night at the Opera‘s endeavor to intertwine Groucho, Chico and Harpo into the story.
  • A Night at the Opera is set for 12:30 p.m. ET Dec. 31 on TCM.

2 Responses

  1. I must not be most people either! I’m with you on this one and on your views on the Paramount Marx Bros. movies vs the MGM Marx Bros. movies. When you call this a movie “embellished” by the Marx Bros., you got it just right. I prefer the ones where the Marx Bros. ARE the movie and everyone else exists as a foil for their absurd version of reality. My own favorite is “Duck Soup,” but I’d watch any of the earlier ones before this one.

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