Une nuit à l'opéra

Up there with the greatest 1930s Slapstick comedies, primarily because it carries its capacity to humour into contemporary times, unlike so many of that day that fail to travel ahead of themselves, including several Marx Brothers films.

I absolutely love the Marx Brothers! This is my second-favorite, after "Duck Soup" and just ahead of "Animal Crackers". But this is admittedly the best film they made. The musical interludes mesh better (obviously, given the plot), the comedy bits are vintage Marx Brothers (including one of the most memorable scenes in movie history) and the plot actually makes sense (heresy in a Marx Brothers film)! One of the funniest movies ever! I'd make some half-crazed comments here, but they wouldn't do the boys justice. So, with a bow to the masters, I leave on the following: You should have come to the first party. I was blind for three days! Recommended with all my heart, soul and circulatory system!

This film is the first and probably the best Marx Brothers film made by MGM. Unlike later MGM/Marx collaborations, this film has energy and creativity. However, it also has LOTS of singing--hence, the title of the movie. That means in addition to the usual Chico and Harpo songs, there is a lot of operatic-type stuff from the duo of Jones and Carlisle. For me, these songs were frankly the low-point of the picture, but for some dumb reason, Hollywood's conventional wisdom was that comedies MUST have musical numbers to be appreciated by wider audiences. This same formula was foisted upon WC Fields, Abbott and Costello and even Laurel and Hardy. However, this movie is th rare exception that is STILL good in spite of the pointless songs.

A stream of consciousness, anything goes, Marx Brothers rampage. It is filled with jokes and sight gags. Harpo always has that leg up in the air, like an amorous cocker spaniel. The scene in the state room on the ship. The story of how they got to America: "We got three fourths of the way across, ran out of gas, and had to go back." It is imaginative and crass. They were certainly the masters of insensitivity; mid twentieth century bullies; who find nothing sacred. I heard once that Margaret DuMont, who was Groucho's constant foil, never really got the jokes or even knew they were jokes. Because opera is frequented by members of wealthy society, these people become the perfect targets because of their pomposity. The Marx Brothers knew that their audience of the time was perfectly willing to see the upper classes brought to their knees. If I have a favorite Brothers movie, it would be "Animal Crackers," but for me, this is second on the list.