Purists prefer the Paramount films but this is probably the best film to introduce audiences to the Marx Brothers. Irving Thalberg at MGM correctly spotted that the brothers’ craziness would work better if they interacted with ‘real people’ (in this case movie real – the simpering Alan Jones and Kitty Carlisle) and were broken up with musical interludes.Groucho is in brilliant form in this one – well, he’s always pretty good but here his material is very strong, which isn’t always the case. Even better Margaret Dumont is back, and by giving Chico the role of Allan Jones’ manager he has a real function to play in the story (again, something which isn’t always the case).
Allen Jones has the Zeppo role; he’s better looking, more masculine, and a better skilled singer than Zeppo – but he’s a bit smug, it’s not very interesting that he feels emasculated when he’s girlfriend is a star and he isn’t, and when he takes part in antics with the gang it’s just not the same. It’s like “go away Zeppo try-hard”. I don’t mind the Marx Bros helping normal people, but to have said normal people take part in routines doesn’t quite work. (NB the everyone-stuffed-in-a-room scene is hilarious – but I think the “changing rooms” sequence is even funnier).
Maybe this is because I loved this film as a kid but I think this is the Marx Bros movie which more than other has a true sense of magic and wonder. Backstage at the opera is like a wonderful playground, where you dress up as extras and chase each other during a performance, and swing on the ropes, and play baseball with violins. And ocean liners are where you go down to third class and play harps and the piano and dance.
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