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A Night at the Opera

DVD Release

  • Release Date: 2004
  • Two vintage shorts: "Sunday Night at the Trocadero" and Robert Benchley's Academy Award-winning "How to Sleep"
  • cc
  • Commentary by Leonard Maltin
  • All-new documentary "Remarks on Marx"
  • Groucho Marx on the Hy Gardner Show (1961 broadcast)
  • Theatrical trailer

  • Rating: StarStarStarStarStar
  • Genre: Comedy
  • Movie Type: Absurd Comedy, Screwball Comedy
  • Themes: Ladder to the Top, Cons and Scams, Righting the Wronged
  • Director: Sam Wood
  • Main Cast: Groucho Marx, Harpo Marx, Chico Marx, Kitty Carlisle, Walter Woolf King, Edward Keane, Sig Rumann, Allan Jones
  • Release Year: 1935
  • Country: US
  • Run Time: 92 minutes
  • MPAA Rating: NR

Plot

Although some purists hold out for Duck Soup (1933), many Marx Brothers fans consider A Night at the Opera the team's best film. Immediately after the credits roll, we are introduced to Groucho Marx as penny-ante promoter Otis B. Driftwood. After a sumptuous dinner with a beautiful blonde at a fancy Milan restaurant, Driftwood tries to cadge another free meal from his wealthy patroness, Mrs. Claypool (Margaret Dumont). The dignified dowager complains that Driftwood had promised to get her into high society, but has done nothing so far. Otis B. counters by introducing Mrs. C to pompous opera entrepreneur Gottleib (Sig Rumann); all Mrs. Claypool has to do is invest several hundred thousand dollars in Gottleib's opera company, and her entree into society is in the bag. Contingent upon this plan is Driftwood's signing of Rodolfo Lassparri (Walter Woolf King), a self-important tenor. Backstage at the opera, Driftwood meets Fiorello (Chico Marx), who poses as a manager and offers to sell Driftwood the "world's greatest tenor"-not Lassparri, as Driftwood assumes, but Fiorello's pal Ricardo Baroni (Allan Jones). Instantly the two sharpsters try to draw up a contract ("The party of the first part shall hereafter be known as the party of the first part..."), which they proceed to tear up piece by piece whenever coming across a clause that displeases them (Driftwood: "That's a sanity clause"; Fiorello: "You no foola me. There ain't no Sanity Claus"). Having lost Lassparri to Gottleib, Driftwood sails back to America with Mrs. Claypool and the opera company. Gottleib arranges for Driftwood to get the tiniest, least accessible stateroom on the ship. Unpacking his trunk, Driftwood discovers that he's got to share his postage-stamp quarters with Ricardo Baroni, who has stowed away because he's in love with the opera troupe's leading lady Rosa (Kitty Carlisle). Also hiding out in Driftwood's trunk is Fiorello, who's come along because he's still Ricardo's manager, and the wacky Tomasso (Harpo Marx), Lassparri's former dresser, who has come along for the hell of it. Anxious to arrange a tete-a-tete with Mrs. Claypool in his stateroom, Otis finds out that his unwelcome guests won't leave until they're fed ("Do you have any stewed prunes? Well, give them some black coffee, that'll sober 'em up"). After ordering a huge dinner, Otis and his new friends are crowded even farther by a steady stream of intruders, including an engineer and his assistant, a cleaning lady, a manicurist, a girl looking for her Aunt Minnie, and a dozen waiters. The celebrated "stateroom scene" comes to a rollicking conclusion when Mrs. Claypool has the misfortune of opening the door. On the last night of the voyage, Fiorello, Tomasso and Ricardo sneak out of their stateroom to enjoy an impromptu ethnic festival in steerage. Ricardo sings, Fiorello "shoots the keys" on the piano, and Tomasso plays the film's theme song Alone on the harp. The stowaways are caught and thrown in the brig, but with Driftwood's help they escape. To avoid recapture, the stowaways don heavy beards and pose as three famed Russian aviators. After making a shambles of a public reception, the three reprobates hide out in Driftwood's New York apartment, where everyone conspires to drive an investigating detective (Robert Emmet O'Connor) crazy. Driftwood is fired from the opera company for associating with the stowaways, while Rosa is dismissed for refusing Lassparri's affections. In order to restore Rosa's job and put the deserving Ricardo in Lassparri's place during the opening performance of La Traviata, Driftwood, Fiorello and Tomasso concoct a scheme that will reduce the opera to comic chaos. The actual night at the opera in A Night at the Opera must be seen to be believed, but the spirit of the scene can be summed up by Gottleib's anguished cry "A battleship in Il Trovatore!" Opera was the Marx Brothers' first film for MGM, and they dearly coveted a hit after the disappointing box-office showing of their final Paramount films. With the blessing of MGM production chief Irving Thalberg, the Marxes went on the road with their brilliant writing staff (including George S. Kaufman, Morrie Ryskind and Al Boasberg) to test their comedy material before live audiences. As a result of this careful preplanning, Night at the Opera was a smash-hit gigglefest, grossing over $3 million and putting the Marxes back on top in the hearts and minds of filmgoers everywhere. ~ Hal Erickson, All Movie Guide

Review

A Night at the Opera was the first Marx Brothers movie without Zeppo Marx (though his replacement here, Allan Jones, is not a notable improvement) and also the first under the supervision of MGM's legendary producer Irving Thalberg. A relatively sane plot line and conventional romantic subplot place this film in the more conventional camp of Marx Brothers movies. Due to the critical and commercial failure of Duck Soup (1933), the brothers' previous movie, the studio decided to pre-test many of the skits on live audiences; while Duck Soup's anarchic revelry left many in the audience less amused than baffled, A Night at the Opera's script by George S. Kaufman and Morris Ryskind and direction by Sam Wood were more controlled and focused than in previous Marx efforts. But as was often the case in their movies, the brothers' comedy takes aim at the pompous and pious hypocrisy of the upper crust, and this movie features many of their most famous routines, including the stateroom scene, the contract scene, the bed-switching sequence, and the operatic finale. The film's openly subversive and derisive tone was a perfect match for a Depression-era crowd looking for some wealthy authority figures to laugh at. ~ Dan Jardine, All Movie Guide

Cast


Margaret Dumont - Mrs. Claypool; Robert E. O'Connor - Detective Henderson; Harry Allen - Doorman; Lorraine Badges; Al Bridge - Immigration Inspector; Gino Corrado - Steward; Jay Eaton; Otto H. Fries - Elevator Man; Billy Gilbert - Engineer's Assistant; William Gould - Captain of Police; Jonathan Hale - Stage Manager; Rodolfo Hoyos, Jr. - Count di Luna; George Irving - Committee; Selmar Jackson - Committee; Jack Lipson - Engineer's Assistant; Wilbur Mack; Marx Brothers; Inez Palange - Maid; Claude Payton - Police Captain; Purnell Pratt - Mayor; Rolfe Sedan - Aviator; Phillips Smalley; Harry Tyler - Sign Painter; Leo White; Frank Yaconelli - Engineer; Samuel Marx - Extra on Ship and at Dock; George Guhl - Policeman

Credit

George S. Kaufman - Screenwriter; Merritt B. Gerstad - Cinematographer; Cedric Gibbons - Art Director; Chester Hale - Choreography; Bert Kalmar - Screenwriter; William Le Vanway - Editor; James K. McGuinness - Short Story Author; Harry Ruby - Screenwriter; Morris Ryskind - Screenwriter; Herbert Stothart - Composer (Music Score); Irving G. Thalberg - Producer; Dolly Tree - Costume Designer; Edwin B. Willis - Set Designer; Sam Wood - Director; Al Boasberg - Screenwriter; Ben Carre - Art Director

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Wikipedia: A Night at the Opera (film)
For other uses, see A Night at the Opera (disambiguation)
A Night at the Opera
A_Night_at_the_Opera_Poster.gif
Directed by Sam Wood
Produced by Irving Thalberg
Written by James Kevin McGuinness
George S. Kaufman
Morrie Ryskind
Starring Groucho Marx
Chico Marx
Harpo Marx
Distributed by Metro-Goldwyn-Mayer (1935-1986)
Turner Entertainment (1986-96)
Warner Bros. (1996-present)
Release date(s) November 15, 1935 (USA)
Running time 96 min.
Language English
Italian
All Movie Guide profile
IMDb profile

A Night at the Opera is a 1935 comedy film starring the Marx Brothers. It was the first film the brothers made for MGM after their departure from Paramount, and the first without Zeppo.

At the suggestion of producer Irving Thalberg, the film marked a change of direction in the brothers' career. In their Paramount films, the brothers' characters were much more anarchistic: they attacked (comically) anybody who was so unfortunate to cross their paths, whether they deserved it or not. (Usually, they did deserve it.) Thalberg, however, felt that this made the brothers unsympathetic, particularly to female filmgoers. So in the MGM films, the brothers were recast as more helpful characters, saving their comic attacks for the villains.

Though some Marx Brothers fans were appalled at these changes, Thalberg was vindicated when the film became a solid hit. Of course, it helped that the film contained some of the brothers' funniest routines. These routines were honed on stage, as the brothers performed the new material on the road before filming began (another Thalberg innovation).

Still, the path to success was not easy. According to Oscar Levant, the first preview was a "disaster", with "hardly a laugh". So was the second. Thalberg and George S. Kaufman spent days in the editing room, adjusting the timing to match the rhythm of a stage performance. About 9 minutes was cut from the running time, and the result was a hit.[1]

In 1993, A Night at the Opera was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It is also included in the 2007 update of AFI's 100 Years... 100 Movies at number 85.

Production

True to its title, the film actually includes some real opera scenes, especially from Il Trovatore, with a duet sung by Kitty Carlisle and Allan Jones. The opera setting also allowed MGM to add big production song numbers (which were one of this studio's specialities), such as the song Alone with the departure of the steamship, and the song Cosi Cosa with the Italian buffet and dancing.

It stars Groucho Marx, Chico Marx, Harpo Marx, Kitty Carlisle, Allan Jones, Walter Woolf King, Siegfried Rumann and Margaret Dumont.

The movie was adapted by George S. Kaufman, Morrie Ryskind, Al Boasberg (uncredited) and Buster Keaton (uncredited) from a story by James Kevin McGuinness. It was directed by Sam Wood.

Plot and memorable scenes

In A Night At the Opera, the brothers help two young lovers to succeed in love as well as in the opera world. Groucho is Otis B. Driftwood, a hanger-on to widowed socialite Mrs. Claypool (Margaret Dumont). At the last opera performance of the season in Italy, of Pagliacci, Otis runs into his old friend Fiorello (Chico), who is the best friend and manager of Riccardo (Allan Jones), an opera singer who longs for his big break and who is in love with fellow opera singer Rosa (Kitty Carlisle). However, Riccardo's dreams are thwarted by the star of the opera, Lasspari (Walter Woolf King), an egotistical man who wants fame — and Rosa — for himself. Otis signs Riccardo to a contract, thinking he is signing Lasspari; Lasspari, meanwhile, is signed for the New York opera by snobbish financier Herman Gottlieb (Sig Ruman).

Although Riccardo and Fiorello are not allowed to accompany the troupe on their trip to New York, they manage to stow away on the ship, along with another of Fiorello's friends, Tomasso (Harpo), a dresser fired by Lasspari. Once in New York, the stowaways are pursued by the police for entering the country illegally, and Otis ends up losing his position with the opera to Gottlieb. When they find out that Rosa has been fired for siding with Riccardo, the boys spring into action, sabotaging the opening night performance and making sure that both Riccardo and Rosa get their due as the new hits of the opera world.

Classic scenes

  • Groucho plans a rendezvous with Mrs. Claypool in his stateroom; then he finds out how small it is, and that he, his trunk, and the bed barely fit in it. Besides, Fiorelo insists on getting something to eat ("We getta food or we don't go"). So Groucho calls a steward ("I say, Stew") and orders dinner.

GROUCHO: And two medium-boiled eggs.

FIORELO (inside room): And two hard-boiled eggs.

GROUCHO: And two hard-boiled eggs.

TOMASSO (inside room): (honk)

GROUCHO Make that three hard boiled eggs.

This continues until Fiorelo and Tomasso have ordered about a dozen hard-boiled eggs and Groucho has ordered about everything else--including coffee to sober up some stewed prunes. However, this is just to set the viewer up for the famous "Stateroom Scene", which sees a total of 15 people in Groucho's tiny ship's cabin, already containing a bed and a big wardrobe trunk. It is one of the most famous comedy scenes of all time, and was designed in part by Buster Keaton.

The scene starts with Otis finding out that Fiorello, Tomasso and Riccardo Baroni managed to sneak onto the boat by stowing away in his steamer trunk. Because the boys other than Otis are hiding as stowaways, they have to stay in the room while a parade of people walk in, asking to either use their cabin for something, or to perform their appointed tasks. Crammed into this little space at the end of the scene were: Otis Driftwood, Fiorello, Tomasso, Riccardo Baroni, two cleaning ladies, a manicurist, a ship's engineer and his heavy-set assistant, a girl looking for her aunt, and four waiters with trays of food (Prompting Groucho's classic line; "Is it my imagination, or is it getting crowded in here?"). The mass of humanity tumbles out into the hallway when Mrs. Claypool opens the door.

  • The contract scene between Groucho and Chico ("the party of the first part ..."), which is a masterpiece of non-communication:
CHICO: Hey, wait, wait. What does this say here, this thing here?
GROUCHO: Oh, that? Oh, that's the usual clause, that's in every contract. That just says, uh, it says, uh, if any of the parties participating in this contract are shown not to be in their right mind, the entire agreement is automatically nullified.
CHICO: Well, I don't know...
GROUCHO: It's all right. That's, that's in every contract. That's, that's what they call a sanity clause.
CHICO: Ha-ha-ha-ha-ha! You can't fool me. There ain't no Sanity Clause!
  • The actual sabotaging of the opera while being pursued by the police and theater staff, in which numerous things are done to Verdi's Il Trovatore, all in the attempt to substitute Riccardo for Lasspari onstage.

Hidden material

In the scene where the three stowaways are impersonating Russian aviators, Groucho seems to talk gibberish with the dignitaries. As a matter of fact, it is English; if played backwards, it can be heard what they are saying ("This man is accusing you of being impostors", etc.). It was recorded normally, and inserted into the movie in reverse.

Cultural References

  • The film's script is credited as the basis for the 1992 film Brain Donors, produced by David Zucker and Jerry Zucker of Airplane! and The Naked Gun fame.
  • The British rock group Queen later paid homage to this film by naming one of their most famous albums after it (see A Night at the Opera).
  • The British punk band The Damned used Chico's quote ("There ain't no sanity clause") as a title for a 1980 single (see "There Ain't No Sanity Clause").
  • Cyndi Lauper featured a similar overcrowded stateroom gag in her music video for the song "Girls Just Want To Have Fun".
  • Sting also recreated the overcrowded stateroom gag in his music video for the 1991 song "All This Time".
  • The Warner Bros. animated show Animaniacs also paid homage to the stateroom gag in the short "Hercule Yakko".
  • Detective Comics 826 pays homage to this movie. In it The Joker captures Tim Drake, the third Robin and takes him on a mad spree in a car, running over anyone they encounter over the Christmas season. When the Joker plans to kill a street Santa Claus, Robin distracts him by saying "You can't fool me. There ain't no Sanity Claus." The Joker laughs and the two get in an argument over which Marx Brothers film the gag is from, with Robin claiming it is from The Big Store. The Joker is distracted long enough for Robin to punch him out and escape.
  • Though not one room, Mr. Mom also paid an homage to the stateroom gag in the finale.
  • In the Disney Channel series The Suite Life of Zack and Cody, a scene almost identical to the stateroom scene occurs in the Martin's closet.
  • At the end of the movie The Freshman, Rodolfo Lasspari is the alias used on Matthew Broderick's passport.
  • An 8th season episode of Seinfeld titled "The Pothole" features a homage to the stateroom scene in which the four main characters all cram into a small janitor's closet that Elaine is using to get Chinese food delivered; they all end up spilling out after Kramer spills ammonia.
  • When Rosa sings in any of the musical numbers, including the opera scenes, Kitty Carlisle recorded the tracks. She did not want someone else's voice coming out of her mouth on screen.

Musical numbers

Harpo playing a variation of the movie's title theme on his signature instrument
Enlarge
Harpo playing a variation of the movie's title theme on his signature instrument
  • "Di Quella Pira" (from Il Trovatore)
  • "Miserere" (from Il Trovatore)
  • "Alone"
  • "Santa Lucia"
  • "All I Do Is Dream of You"
  • "Cosi-Cosa"
  • "Take Me Out to the Ballgame"
  • "Anvil Chorus" (from Il Trovatore)
  • "Stride la vampa" (from Il Trovatore)
  • "Strido Lassu" (from Pagliacci)

Notes

  1. ^ Oscar Levant, The Unimportance of Being Oscar, Pocket Books 1969 (reprint of G.P. Putnam 1968), p. 67. ISBN 0-671-77104-3.

See also

External links


 
 

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