A Day at the Races

A Day at the Races
June 11, 1937
MGM
Comedy, Musical
VHS
C+

Once again, as in A Night at the Opera, Sam Wood directs, Allan Jones is the male romantic lead, Sig Ruman and his beard are mocked by Groucho, and Kaufman, Pirosh, Seaton, and Boasberg worked on the script.  This time, Maureen O'Sullivan is the female romantic lead, and she's more appealing than anyone since Lillian Roth.  Also, the movie doesn't suffer the over-inflated reputation of its immediate predecessor.  So in a way, I have a softer spot for it than I do for Night, but I will admit that it's just not as good a movie.

It starts out all right, and for awhile I was thinking of giving it a B-, like Night.  The brothers all have their moments, Chico especially in the "tootsie-frootsing" of Groucho and in his Jew-does-Italian-does-Irish house detective disguise, Harpo during his medical exam (I like how he "shouts" aah), and of course Groucho, especially when he's dancing.  Margaret Dumont actually shows a range of emotion (from A to C) for a change, although she's not given enough to do with Groucho.  Yes, the Water Carnival sequence is far too long (the entire movie is about double the length of Thank You, Jeeves!), but Chico and Harpo again have some nice musical moments.

Then around the 80- or 90-minute mark (I wasn't watching the clock, and my VCR doesn't have the time points), things start to sour.  We get another down-on-their-luck sequence, this time with the Brothers and the romantic couple picking up their spirits by hanging out in Shantytown, where the local Negroes salute a flute-playing Harpo as Gabriel, as in the angel.  (It might make sense if he were playing a horn.)  It is the best musical sequence but is marred by disjointedness (it can't decide if it's a medley or a jam session) and of course racism.  While the singers and dancers are undeniably talented-- one of them, Etta Moten, also sang in Flying Down to Rio-- their exaggerated facial expressions, especially eye-rolling, will probably have you rolling your own eyes, in disbelief or disgust.  And then the whole undercutting of the big horse race near the end goes on far too long, paling in comparison to the football sequence in Horse Feathers, which was itself far from their best filmic climax.  The very ending of this film, with the characters singing bits of songs (including one of Groucho's that was foolishly edited out) and Groucho actually sounding sincere as he proposes to Dumont, isn't bad but it's too little too late.  Results, the Brothers' worst movie since The Cocoanuts, although still watchable in bits and pieces.

Frankie Darro, "Frankie" from Phantom Empire, appears as the rival jockey.  Marx and/or Fields regulars Edith Kingdon, Edward LeSaint, Edmund Mortimer, Frank O'Connor, and Cyril Ring have small roles.  Esther Muir, who appears as "Flo," would have a small part in The Story of Vernon and Irene Castle, as would musician Jack George and doctor Max Lucke.  Billy Dooley would go on to The Double Wedding, Lee Murray to The Wizard of Oz, Jack Kenny to You Can't Cheat an Honest Man, Vangie Beilby to The Bank Dick, Ray Flynn and Field Norton to Citizen Kane, Robert Middlemass and Buck Woods to The Road to Zanzibar, Victor Potel to Miracle of Morgan's Creek, Helen Dickson and Arthur Stuart Hull to It's a Wonderful Life, Florence Wix to High Society, and Harry Wilson to Some Like It Hot.  Furthermore, Kenny Baker, who would be Jones's counterpart in At the Circus, pops up here as a party guest, as does Carl M. Leviness, who has a much smaller role than Baker's in Circus.

A Night at the Opera

A Night at the Opera
November 15, 1935
MGM
Comedy, Musical
VHS
B-

Today's tale:  So the Marx Brothers went to MGM, and "genius" Irving Thalberg said, "Women don't like your movies.  You need more sappy romance, boring songs, and, oh yeah, temporary defeat."  They listened to him and had a hit movie again.  The End.

OK, there's a bit more to it than that, but that's basically the story on how this film came to be, and how, after Thalberg's death, the formula was beat into the ground until we got, well, The Big Store (1941).  At least here they had good writers, not just Marx veterans Kaufman and Riskind, Kalmar and Ruby, but newcomers Robert Pirosh, George Seaton, and Al Boasberg, who would return for A Day at the Races.  I'm not tagging the newbies, because I reached the label limit for this post.  But, yes, Buster Keaton, then down on his luck, also contributed.  The writing, especially Groucho's wisecracks, is amusing some of the time, without the highs or lows of Monkey Business (its nearest equal so far).  Despite the Code, Groucho still gets some suggestive lines, not just the censored-by-individual-states reply to "Otis, do you have everything?" ("I haven't had any complaints yet"), but one about Mrs. Claypool (good ol' Dumont) not yet having  experienced his "services."  There is too much of Kitty Carlisle and Allan Jones as the romantic couple, but, hey, they're much better than the pair in The Cocoanuts.  (Or the one in Roberta for that matter.)  And, yes, the songs, not just the opera, are boring, but I like Chico at the piano (an instrumental of the "All I Do Is Dream of You" song Debbie Reynolds sings in Singing in the Rain) and Harpo at the, yeah, harp (sounding a bit proto-Pet Sounds, believe it or not).

Alex Chivra and Frances Maran were in Flying Down to Rio.  Stanley Blystone, the television operator in Phantom Empire, is a ship's officer here.  A couple of the Fields folk appear, George Irving and Jerry Mandy.  Mario Dominici and Leo Sulky were in Duck Soup.  Edmund Mortimer was in both FDtR and Soup.  Allan Jones, Sig Ruman, and extras Edna Bennett, Ruth Cherrington, Field Norton, and Phillips Smalley would be back in A Day at the Races, while villain Walter King would return in Go West.  Lorraine Bridges would be in Wizard of Oz, Bruce Sidney in Citizen Kane, and Al Bridge in Miracle in Morgan's Creek.  Art Howard and Edward Keane went on to It's a Wonderful Life.  Kitty Carlisle would appear as a singer more than fifty years later in Radio Days.