Halløj i Operaen
The Marx
Brothers were more than just an ensemble in showbiz. They became synonymous
with disrespectful anarchy and chaos in the most positive and exasperating
meaning of the words. Even today The Marx Brothers are frequently used as
exponent for those concepts: “Who did I hire? The Marx Brothers?” Without a
doubt the icon of the Marx Brothers will long outlive the memory of the films
they made.
Before
starting this voyage through early cinema The Marx Brothers were one of the few
familiar names on the list. I had seen this one before and also “A day at the
Races”, but it was a long time ago and I cannot say I remember much. What I do remember
very well are the characters: Groucho, Harpo and Chico. They had real, more
mundane names, but the world will always know them under their stage names and
their unfailing looks that they carried from movie to movie. There were two
other brothers, but they do not appear in “A Night at the Opera”.
As indicated
above the style of the Marx Brothers is utter anarchy. You find something
refined and pompous and the brothers will take is apart. In this movie it is
the opera. What more refined backdrop can you find? They need such a stiff,
inflexible opponent as counterweight to their shenanigans otherwise it does not
work. Groucho Marx is funny when he runs corners on Mrs. Claypool (Margaret
Dumont) or Gottlieb (Siegfried Rumann) exactly because they are uptight and
inflexible. Had they been smiling, easy people Groucho would not have been half
as fun. That is also why Dumont is sometimes considered (at least by me) the
extra Marx Brother. She is always there, the prime victim of their pranks. And
she is excellent.
Groucho
Marx is Otis B. Driftwood, a particularly sleazy and opportune agent, currently
engaged by Mrs. Claypool (just consider their names again: Driftwood and
Claypool, priceless!) to promote her into society. She has a lot of money and
do not know what to do with them, prime victim. Driftwood actually accomplishes
the task somewhere in between a flood of hidden and not so hidden insults by
introducing her to Gottlieb, the manager of the New York Opera. She is to
sponsor the opera so they can hire the famous tenor Lassparri (Walter Woolf
King) in Europe and bring him in for the new season.
Lassparri
is a self-obsessed prima donna and thus a first class victim for Fiorello (Chico)
and Tomasso (Harpo). He also has the hots for a female singer Rosa (Kitty
Carlisle) who in turn is in (mutual) love with the chorus singer (and hidden
gem) Ricardo Baroni. Fiorello is a friend of Baroni and arranges to become his
agent.
When
Driftwood learns what sort of money Lassparri can get per show he maneuvers to
become his agent. He finds Fiorelli and they agree to share in being his agent
in one of the most ridiculous contract negotiations ever. The clauses are all “the
first party, known as the first party” mumbo-jumbo and they end up tearing the
contract to pieces obviously having no clue what it says. Well, soon enough
Driftwood realizes it is Baroni not Lassparri he has signed.
The whole
ensemble travel by boat to America and here we witness the funniest scene of
the movie. Gottlieb, who has already take a dislike to Driftwood has installed
him in an ultra-tiny cabin. There is barely room for Driftwood’s oversize
suitcase. When he opens the suitcase he finds Fiorello, Tomasso and Baroni
inside. They need to go to America as well because Rosa is going and they have
no money. They are hungry however so they talk Driftwood into ordering food. It
ends up being an enormous meal with a lot (!) of hardboiled eggs. While waiting
for the food the maid comes to make up the bed, the plumber to fix the pipes,
the cleaner to mop the floor, two women to give manicures and probably I forgot
some. When the food arrives the three waiters manage to get in as well somehow,
but when Mrs. Claypool shows up all come tumbling out the door like a flood.
The scene is impossible to describe, it has to be seen.
In America
the three stowaways are illegal immigrants and as such being chased by the
police, notably Sergeant Henderson (Robert Emmett O´Connor) resulting in two
spectacular scenes.
First the
three of them are disguised as three famous airmen and are received with music
and speeches and are required to make their own speeches, which do not go down
very well.
Secondly
they manage to drive the poor sergeant crazy when he visit the place they live
in. By moving the furniture around continuously they confuse him so badly he
just gives up.
But the
glory moment is when the three Marx brothers turn the glorious premiere of the
New York Opera in to a circus. The opera is so utterly profaned that you do not
know whether to laugh or cry. All to the end of ruining Lassparri and Gottlieb
and placing Baroni in the lead. Never has Il Trovatore been abused to this
extent and to such amusing end and again it is the refined setting that makes
the Marx Brothers funny.
While the
story thus allows for scenes that in themselves are funny, it is also largely a
vehicle for the anarchistic comic of the brothers. Groucho cannot open his
mouth without a pun, an insult or just an insane statement. Chico plays well up
against Groucho and Harpy is, well, just anarchy. A big child causing endless
havoc.
Of the two
Marx Brothers movies on the list I am tilting toward this one (the other one
being Duck Soup). Primarily because of the backdrop. It is the self-styled
pompousness of the opera world that makes the gags so funny.