Continue with Google
>
A Night at the Opera Reviews
Marx Brothers movies are a timeless masterpieces that need to be recogniced by every generation
This is such a goofy movie and I love goofy movies! I always liked Groucho's smartass remarks on YOU BET YOUR LIFE many years ago. Yes, I'm that old! Classic comedy!
Had no clue how much 'Friday the 13th part 8: Jason takes Manhattan' ripped off from this movie. Opening setup > hour long boat ride to new York filled with hijinks > 20ish minutes in the city.
The Marx Brothers at the top of their game. The ship's cabin scene is the funniest in film. This movie is nothing short of a masterpiece! See this followed by A Day at the Races. Pure joy!
One of the funnest films ever made filled with, charm and clever writing. This is the marx brothers golden era. Grocho and Cheeco are stand outs in the film and the back drop and sets, everything is wonderful and so very funny
Hilarious, chaotic and fun. It never gets old.
I'm sure A Night at the Opera is progressive for its time. I'm sure its groundbreaking. I'm sure I never laughed once.
A NIGHT AT THE OPERA (MGM, 1935) directed by Sam Wood, re-introduces the Marx Brothers to the screen following their five years at the Paramount studio (1929-1933) to MGM, this being the start of a new beginning and the end to their wild world of comedy. It also brings forth their most popular comic foil of all, Margaret Dumont, from their Broadway to Paramount days, and the return to a formula story and time out for musical interludes either by the brothers or the romantic lovers originally done in their initial films of THE COCOANUTS (1929) and ANIMAL CRACKERS (1930). Aside from now being The Three Marx Brothers (Zeppo who has since retired), their characters have been toned down a bit, which helps. However, at MGM, with this, their best film for the studio, Groucho and Harpo become victims instead of instigators, with such notable scenes as Harpo employed as a dresser for an abusive opera tenor (Walter Wolfe King) who slaps, hits and uses a whip on him (at one point off camera) whenever getting out of line with his buffoonery, and Groucho, who always wins out in every situation physically and verbally, getting kicked down four flights of stairs, which indicates they are not always indestructible, yet remain in character from the old days whenever possible. Chico retains his wiseacre Italian character, remaining notably the same from his previous efforts, however, things will start to change not for the better for him and his brothers in the movies to follow. Plot summary: Introduction takes place in Milan, Italy, where Otis B. Driftwood (Groucho) agrees to represent dowager Mrs. Claypool (Margaret Dumont) into society by arranging for her to invest $200,000 to Herman Gottlieb (Sig Ruman), director of the opera company so that he can afford to bring opera singers Rudolpho Lassparri (Walter King) and Rosa Castaldi (Kitty Carlisle) to New York City. Rudolpho loves Rosa, but she is more interested in Ricardo Baroni (Allan Jones), an unknown singer working as a chorus-man, but with the help of Fiorelli (Chico), acting as his manager, and his partner, Tomasso (Harpo), the trio head for America by becoming stowaways on the S.S. Americus, hiding out in Driftwood's tiny stateroom in order for Ricardo to get his big chance as a singer. After Driftwood and his cronies arrive in at the Metropolitan Opera House, thanks to them in disrupting Rudolpho's performance that the art of opera will never be the same again. The musical program: "Alone" (sung by Kitty Carlisle and Allan Jones) by Nacio Herb Brown and Arthur Freed; "Cosi-Cosa" (sung by Allan Jones) by Bronislau Kaper, Walter Jurmann and Ned Washington; "All I Do is Dream of You" (by Brown and Freed/piano solo by Chico Marx); "Alone" (harp solo by Harpo Marx); and selections from Il Trovatore by Guiseppi Verdi: "Di quella pira," "Miserere," "Anvil Chorus," "Stride la Vampa" "Strido lassu" and "Miserere." Allan Jones and Kitty Carlisle doing their duet, "Alone," him on the pear and she from the boat dock, Chico's fast finger piano playing, and Harpo's harp solo in a serious manner as he performs to a little old lady (facial shadow front only) who looks on approvingly, may not be highlights, but are truly memorable moments. Highlights: Whenever anyone goes into discussion regarding A NIGHT AT THE OPERA, the first thing that comes immediately to mind is that famous state room scene involving Groucho, Chico and the sleeping Harpo, with various others involved, crammed together until the door opens, having them all falling out like dominoes. This hilarious bit is one that's remembered best with fondness and admiration. However, there are others worth noting: The opening where Dumont awaits for Groucho at a restaurant for an hour only to find him at the table behind her eating with another lady, is priceless; Groucho and Chico contract exchanges that becomes a "sanity clause"; arrested stowaway Harpo's attempt in escaping his detention cabin by crawling out of a porthole and hanging onto a rope outside only to be dumped into the ocean; Jones, Chico and Harpo in bearded disguises posing as celebrity aviators to give speeches on coast-to-coast radio, with the silent Harpo covering up his muteness by constantly drinking glasses of water; the disappearance of beds in Groucho's hotel room while the plainclothesman detective (Robert Emmett O'Connor) investigates; and of course, the climactic opera chaos by the Marxes, with one great bit with the orchestra playing the overture to "Take Me Out to the Ball Game" after coming to the page with the planted song sheets, with Groucho acting as a vendor yelling "Peanuts! Peanuts!" to the patrons. A classic with Callas. The supporting players: Newcomer Allan Jones steps in for the role that might have been offered to Zeppo. He is a likable actor with a fine singing voice who performs well opposite Kitty Carlisle (another recruit from Paramount and rare screen appearance, being best known as the 온라인카지노추천 panelist in the long running quiz show, "To Tell the Truth").
I think this is only my second Marx Bros film but feel confident enough to now say I am a fan. The many scenes of schtick are woven together pleasantly enough but no one is really coming here for an expertly structured narrative and likely just want to get some laughs in. The pacing is pretty good too as the brothers seem to appreciate just when to end the gags, as the scenes never feel overdone and generally wrap up right at the peak for me. The contract scene and, what I will call, the clown car as the cabin scene were likely what will be most memorable for me. AFI 100 Greatest - 10th Anniversary Fill In
I know this might not be the most critically acclaimed of the Marx Brothers' pictures, but it is definitely my favorite. The hijinx-at-the-opera story matches a melodramatic storyline of separated lovers with the wild antics of Harpo, Chico and Groucho. Margaret Dumont and Allan Jones in particular make excellent straight accomplices/foils to the brothers' antics. Probably the most accessible film for children of the Marx oeuvre.
Many people consider this to be the Marx Brothers' best movie. And if it weren't for all the opera singing it might have been. Very funny movie it includes some great gags such as the stateroom scene and the "insanity clause". It's not the funniest Marx Brothers film though. That honor goes to Duck Soup.
This one fell a little flat overall for me, but, man, I do love me some Harpo. Also redeemed with famous insanely crowded room scene and Groucho and Chico contract modification - the first party of the first part through the eigth party of the eight part until nothing's left but the signature line.
When A Night at the Opera is funny, it's pretty funny. The problem is that there are extended musical interludes that—while showcasing the talent of the actors—bring the movie to a complete halt. The Marx Brothers' style of comedy may not resonate as much with modern audiences, but if you're a fan of vaudevillian performances and slapstick comedy, I think you'll enjoy A Night at the Opera.
As time goes on, I'm more and more convinced that physical comedy ages much better than dialogue-based humor; the universal nature of the jokes, their simplicity, and lack of a need of context makes them more of a long-term favorite. As a result, Chaplin, Keaton, Lloyd, and Sellers will probably enjoy greater lasting international popularity and acclaim than the two Marx brothers not named Harpo. Groucho Marx has a very distinct brand of comedy that you either like or you don't - fast-talking and oftentimes a bit sloppy on delivery, hoping that quantity will carry the day (and it often does), while Chico is really just the less-endearing counterpart for his brother to play off of. Harpo is consistently solid, offerring a more buffoonish counterpart to his verbose brothers, but he's not a strong comparison to the great solo physical comedians that made a name for themselves in the the decades prior to the rise of the Marx trio. Still, there is something about the dedication to increasingly exasperating, long-running scenes that makes the fraternal act distinctive and endearing, and one of the best representatives of their style is the climactic chaos of A Night at the Opera, in which the three engage in silliness and smooth-talking until an appropriately upbeat conclusion is reached. The actual romantic plot that in theory drives the film is so secondary and tacked on, when it reemerges after long breaks you may often find yourself struggling to remember that it was ever there in the first place. Alongside Duck Soup, probably the longest-lived and most critically acclaimed Marx Brothers film. (4/5)
I watch duck soup and promised myself I'd never watch another Marx brothers film. Got my arm twisted into watching this. It's way better, more engaging plot but the jokes and japes are just not funny. The Marx brothers humour clearly just isn't for me.
Perhaps their best work.
I have watched multiple scenes from this movie, including the stateroom scene. And 2 hard-boiled eggs. Make that 3 hard-boiled eggs.
Marx is the best asset, the highlight of the show, we know it, they knew it, hence the celebration of his talent. A Night At The Opera Wood feels more like directing some sketch show. There is a lot of empathy visible in the hard work that goes in, on creating the various sketchy scenarios. But when it comes to stage a musical- exception being the piano sequence played around a bunch of kids. But I'd argue that even in that scene, the depth comes from the comic timing that displays this two sides of the characters subsequently- or relevantly moisturize the film with emotional drama, the director, Sam Wood feels like he is leaving those patches out to dry. With gags aplenty, even he knew that this is his strength and he should focus on it- the transaction to what is in paper and then what comes on screen, is sheer brilliance. And I think that is the only thing that holds up with time. For almost a century later, the jokes are tend to not age well and feel a bit overridden by now. But once again, I'd say it is the confidence. Take the scene where they are literally trying to manipulate a man on convincing that he is in the wrong hotel room. The choreography is so smooth and polished with actors performing tasks quickly and with a hilarious body language, that you are left in awe. Now as much as easy this was easy on paper, it was incredibly difficult to pull off. And as much as I loved and adored that scene. I would go back one act more to define A Night At The Opera. The obvious infamous scene where the physical comedy is practically turned to 11. His small hotel room gets crowded scene by scene and all the actors performing their bits with commitment, no matter whether they are part of the action or not, proves the most difficult task of an actor i.e. to make the audience laugh.