Showing posts with label Robert Greig. Show all posts
Showing posts with label Robert Greig. Show all posts

Tuesday, February 4, 2014

Horse Feathers

Horse Feathers
August 19, 1932
Paramount
Comedy, Musical
DVD
B+

Why is this so much better than Monkey Business?  After all, it's got the same director, stars, leading lady, and some of the same writers.  (Johnstone, Perelman, and Sheekman, the last appearing uncredited as Typing Sportswriter.)  Yes, it helps that Kalmar & Ruby are doing the music, as they did for Animal Crackers.  We again have a great Groucho-introduction song, this time "Whatever It Is, I'm Against It."  And the song repeated this time, with every Brother giving it at least one rendition, is the marvelous "Everyone Says I Love You."  But the writing is overall stronger, perhaps because the setting of a college is the best yet.

I'm sure this wasn't the first, and it definitely wouldn't be the last, movie to feature college students who look far too old for college.  At least thirty-one-year-old Zeppo has an excuse, since his character has been in one college for twelve years.  Groucho was then forty-one and he's playing Zeppo's father!  Some of the best moments in the movie are Groucho insulting his son, who's "a disgrace to the name of Wagstaff, if such a thing is possible."  At one point, Groucho points to a picture of a horse (guess what part) and is reminded of Zeppo!

Yes, we're still happily living in pre-Code times, most notably with anything to do with Thelma Todd's character of the "college widow."  All the Brothers and the villain flirt (or more) with her, and the movie actually ends with Groucho, Chico, and Harpo pushing the groom, presumably Zeppo, out of the way so they can all marry her!  She's gorgeous in this movie (in one slinky outfit after another) and seems to be having a better time than in Monkey B, especially during Chico's "music lesson," which Groucho tells us we can go to the lobby to avoid.  The bedroom-farcical scene that this is part of is my favorite, although the opening is a close second.  I love how eventually Harpo just walks along the top of the couch and throws ice out the window, as Groucho and Chico put the moves on Thelma.  This scene is choppy, due to age and later censorship (there's a butchered exchange where Thelma says, "Baravelli, you overcome me," and Chico says, "All right, but remember, it was your idea," which you can still catch with the subtitles on), but it's still hilarious.

Meanwhile, there's a class with Professor Robert Greig, a speakeasy, and a whole lot of nonsense, or horse feathers.  That's what the title means, although Zeppo's portrait is part of it, as is Harpo's abiding love for horses (he had a picture of one as his true love in Animal Crackers), and of course the chariot-riding towards the end.

The whole thing of the importance of football on campus would insure that this movie will probably never become fully dated, bootlegging and college widow notwithstanding.  It is very '30s of course, with a "bum" telling Harpo he wants a cup of coffee.  Guess what Harpo pulls out of his magical coat?  And guess what Groucho throws to Thelma when she's drowning?



Friday, January 31, 2014

Animal Crackers

Animal Crackers
August 28, 1930
Paramount
Comedy, Musical
DVD
B

The trailer says this is ten times funnier than The Cocoanuts.  (Joe Adamson would say five times.)  Of course, the trailer also says that the Marx Brothers were the four funniest men on earth!  Still, there's no question that this is an improvement over the first movie, in every regard.  Yes, it's funnier, including some now famous lines, like "How he got in my pajamas, I'll never know."  Everyone, even Margaret Dumont,  seems more relaxed, and Groucho is starting to really zing people, as well as break the fourth wall (as when he apologizes for one joke).  Harpo and Chico get more musical numbers, sometimes with Groucho wisecracking during.  There are no long, drawn-out numbers by other people.  The "Hooray for Captain Spaulding" song is far better than anything in Cocoanuts, and not surprisingly became Groucho's theme song on You Bet Your Life.

Even the romantic couple are a huge improvement, particularly absolutely charming Lillian Roth.  What other '30s ingenue could get away with lines like "What would you suggest, Mom?  Suicide?" and "We'll be married and divorced in no time"?  Or catch her saying that it might turn out that her boyfriend really is a good artist after all.

What does this movie title mean?  Well, Captain Jeffrey/Geoffrey Spaulding (his name is spelled differently in the opening credits than in the newspaper story) is the famous African explorer and hunter, "bagging tigers" and catching elephants.  While there's often a borderline racism in Marx Brothers movies, I give this one a pass because when he comes in carried by tribal bearers, you just know he hired them somewhere in the city before heading out to Long Island, just so he could make a fabulous entrance, playing off the prejudices of Mrs. Rittenhouse and her guests.  Even the line about the undeveloped pictures of native girls I think of more as an example of getting something past the not-yet-strictly enforced Production Code.  (In Cocoanuts, he offered Mrs. Potter [Dumont] "snappy necking," and here Roth sings about petting!)

There are some weak spots, notably the boxing match and bridge game that Harpo and Chico have with Mrs. Rittenhouse and her frenemy, but overall it's a solid movie.  Speaking of solid, Robert Greig, who plays the plump butler here, will return in Horse Feathers.

For the second movie in a row, Zeppo is playing a character named Jamison.  There are other things that are carried over, not yet (on film anyway) stale routines, among them a lot of Harpo and Chico's physical humor, like their fights, and Harpo giving people his leg.  A joke or two of Groucho's is repeated, like the one about Dumont's character being close to retirement.  But the movie is surprisingly fresh and "modern" (there's a reference to Frigidaire, and Groucho spoofs Eugene O'Neill), while still definitely a 1920s story in early '30s form.  (Again, based on a play.)