Marx Brothers Movie Funny Thing Happened
AT THE CIRCUS (1939) ***
This was my third fourth dimension watching AT THE CIRCUS and, the characteristically anaemic leads (who somehow always seem to be able to carry a tune) nonetheless, I've always been kind of partial to this one (even if the end result is, incomparably, a notch or ii below their finest work). Plot and setting provide several opportunities for the Marxes to shine, both as a squad and individually: Groucho (as always) is the film's trump card, yet, especially in his rendition of 'Lydia, the Tattooed Lady' and the separate scenes he shares with befuddled aristocrat Margaret Dumont and scheming circus performer Eve Arden; other highlights include Groucho and Chico'due south interrogation of the suspicious-looking dwarf, Chico and Harpo'south frenzied search for stolen money in the strong-man'due south room (while the latter is asleep!), and the typically busy climax in which Dumont receives the ultimate humiliation.
AT THE CIRCUS is the Marxes' third best MGM movie (demonstrating a steady decline for them from film to picture) but it's still inferior to the later A NIGHT IN CASABLANCA (1946), in my stance – or whatever of their early Paramount films, for that matter.
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The Problems Of Circus Movies.
The decline of the Marx Brothers does not brainstorm with ROOM SERVICE, which is hysterical at it's conclusion, simply with AT THE CIRCUS. Groucho always insisted that had Irving Thalberg lived his care would have made the other films in the contract later on A Twenty-four hours AT THE RACES every bit skilful every bit that and A Dark AT THE OPERA. This meant that the picture show had to be taken on the road as a Vaudeville bear witness, and the material tested carefully. But Thalberg was dead, and Louis B. Mayer was quite unsympathetic to these three clowns who were...well clowns, and who had gotten too good a sweetheart contract from Thalburg in terms of profits. Mayer thought of comedians equally interchangeable, and could not intendance almost assuasive talented ones to test their material - you mitt them a script and that was that: they are paid to brand information technology funny. If they don't you fire them.
So it is traditional to arraign AT THE CIRCUS, GO West, and THE Large STORE on Mayer'due south hostility. That hostility played a major office (in that location is just no denying information technology), but in the instance of AT THE CIRCUS there is another point that is frequently overlooked. In movies by comedians, it was rare for a circus comedy to exist really funny. Due west.C.Fields, YOU CAN'T CHEAT AN HONEST MAN was an exception - a truly funny circus comedy, but it's strength was the motion picture record of Field'southward radio feud with ventriloquist dummy Charlie McCarthy. Had it been set in a movie studio or a bank or a strange country it would take been just as successful. But other comedians were not as lucky. Charlie Chaplin worked 2 years on THE CIRCUS, and while a skilful motion picture information technology was not the keen pic he hoped to make. The atmosphere of a circus should accept been inviting to comics - after all, hither clowns were really clowns. But for some reason the special needs of flick funny-men were hard to translate into the atmosphere of the big top. Perchance the best employ of the big summit as a comic background was in Laurel & Hardy's short movie THE CHIMP. The get-go quarter of the moving-picture show shows how they wreck the circus (which was on it's last legs anyway). But the remaining three quarters of the motion picture deal with the boys problems with a rooming business firm owned by a jealous Billy Gilbert, and the title "chimp" they hope to sell to a zoo.
With the Marxes the circus just does non absorb them too much. Groucho is there, hired as a lawyer to assist Kenny Baker and his pal Chico. Harpo, as Chico'south brother, is a circus roustabout. But there is little example of their involvement in the circus life of the troop or of the animals (Harpo should accept been involved with circus horses, anyway). $.25 of the movie are actually quite good - similar Chico and Harpo trying to find papers in Nat Pendleton'southward (the circus strongman'due south) room. They manage to turn it into a Christmas nightmare for poor Pendleton. And Groucho certainly has ii great moments: the business of trying to become on the circus railroad train without knowing the password (even one of the animals knows the password), and his singing "Lydia The Tattooed Lady".
There were some cuts, apparently. Groucho had a sequence where his trial skills were shown in a court presided over by Edgar Kennedy. One wishes they had kept that in the picture. The poor portions, mostly tied to the sickeningly sweet and naive Kenny Bakery (fighting the crooked James Burke) are overwhelming. At least Groucho was able to take another session with Margaret Dumont equally Mrs. Dukesberry (Baker's aunt), and poor Margaret gets shot out of a cannon in the cease. Simply the drab spots outnumber the good ones. Not also bad, only nonetheless only mediocre as a outcome.
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"Have you got a pencil, I left my typewriter in my other pants."
Alert: Spoilers
Future viewers of "At The Circus" exist warned - "Lydia, Oh Lydia (The Tattooed Lady)" is ane of those tunes that stays with you long after the movie is over. Information technology happened the starting time fourth dimension I watched this film, and it'due south happening right now as I write this review. That's not necessarily a bad matter, provided yous don't bulldoze your family crazy with the lyrics over and over over again.
That'southward one of the bright spots of this Marx Brothers escapade, in a picture show that spotlights a ten thou dollar circus heist, an inverted ceiling walker/aerial trapeze artist (Eve Arden), and a club wielding gorilla named Gibraltar. Put all those elements together and you lot take an amusing and entertaining picayune number, though not generally credited as one of the Marx Brothers finest.
Perennial wealthy Groucho patron Margaret Dumont makes her appearance rather late in this picture, addled as usual about attorney J. Cheever Loophole's intentions, which are actually commendable - he'due south attempting to negotiate a ten g dollar payday to save the Wilson Wonder Circus from the clutches of evil financier Carter (James Shush). Earlier, owner Jeff Wilson (Kenny Baker) cruel victim to Carter'southward potent arm and henchman Goliath (an unrecognizable Nat Pendleton), who in concert with circus midget Fiddling Professor Cantlet (Jerry Maren), stole the money that would have given Wilson clear buying. The clichéd theme is rounded out by Wilson'due south romantic interest Julie Randall (Florence Rice), who probably should take been given more than to practice than merely look pretty.
The movie boasts a rather involved musical number featuring Harpo and a large, young black bandage before settling into a standard harp routine. In an agreeable sketch, Chico'due south character Antonio Perelli continually frustrates Groucho's attempt to interrogate the lilliputian professor about the stolen money. Later, Chico and Harpo squad upwards to wreak havoc in Goliath'southward stateroom; the feathers fly (literally) as they try to find the missing stash. Goliath past the way, bears such a striking resemblance to Harpo, that more could probably take been done to capitalize on the similarity.
As in "The Large Store", the picture show spirals out of control with a rousing trapeze number featuring the boys, Peerless Pauline and Gibraltar the gorilla. It'southward vintage Marx Brothers, so swing your way to a good time!
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The Boys Become To the Big Superlative
No, this isn't the Cecil B. De Mille big top opus, information technology'due south the Marx Brothers one. The boys were slowing downward a flake when they made it, and equally information technology came out in 1939, it kind of got buried under all the other movies of that remarkable film year, and is now somewhat neglected. This is a compassion, for while it isn't their best film, it's far from their worst. The plot isn't worth going into,--does anyone actually desire a synopsis of a Marx Brothers film?--and grande dame Margaret Dumont is on hand as the woman of Groucho'due south nightmares come to life. Kenny Baker and Florence Rice are the leads, and I've seen far worse. This isn't a belly express mirth movie only it's very amusing. The product values are excellent, and the circus itself is fun, and then is the gorilla. Every comedian should encounter a gorilla at least one time in his career. At the Circus is Groucho'due south chance, and it provides the movie with its funniest moment. This isn't a great comedy, simply it'south a very good picture.
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Groucho, Chico, and Harpo -- A Three Ring Circus
Alarm: Spoilers
Perhaps in over all quality At the Circus is considered in the lower one-half of Marx Brothers screen efforts. Only whatsoever flick that introduces one of Groucho Marx's famous patter songs, Lydia the Tattooed Lady can hardly exist considered all that bad.
Probably Lydia is the song near identified with Groucho with the possible exception of his theme Hooray for Captain Spalding. In fact the helm along with the wreck of the Hesperus, Andrew Jackson, and the good woman'south Social Security number all make their manner into those highly educational lyrics. You lot can acquire a lot from Lydia.
The balance of the score that Harold Arlen and E.Y. Harburg wrote is not every bit expert though. The songs are sung quite nicely by Kenny Baker and a dubbed Florence Rice. Baker was the vocaliser on the Jack Benny radio program at the time and was at the pinnacle of his popularity. The year before he had introduced his 2 big hits and the final ii big hits of the career of George Gershwin with Our Love is Here to Stay and Love Walked In. Baker went to Broadway after on and co-starred with Mary Martin in One Touch of Venus.
Of course Margaret Dumont equally a grande matriarch and in this example the rich aunt of circus possessor Kenny Baker makes her obligatory advent to exist conned unmercifully by Groucho. Simply Groucho himself gets conned but proficient by circus trapeze performer Eve Arden. Other than Chico with that Tootsie Frootsie Ice Cream bit in A Twenty-four hours at the Races, this is the only time I remember someone getting the ameliorate of Groucho.
In fact the trapeze figures prominently in the mad finale involving the iii Marxes, Eve Arden, villain James Burke, Margaret Dumont and a very phony gorilla.
That last shot of Fritz Feld conducting a symphony orchestra on a floating bandstand sailing out to ocean without a inkling is something else. Do you think anyone ever rescued them?
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the start of a slow downwards slide
The sad fact near the Marx Brothers is that after the movie A Night AT THE OPERA, their career was all downhill. While A DAY AT THE RACES and ROOM SERVICE were nonetheless very practiced, their subsequent efforts were painfully ordinary and generally unfunny. It was similar they were playing lethargic caricatures of themselves. And, from what I gathered, the Marxes WERE very content to just collect a paycheck at this point in their lives.
Some of the arraign for the static nature of this film likewise must be given to MGM--a studio that had a history of ruining good comedians when they came under DIRECT MGM control (Laurel and Hardy's films were distributed by MGM but were created by the contained-minded Hal Roach Studios). If y'all don't believe me, look at all the Marxes films from the late 30s on every bit well equally Buster Keaton's films of the 30s--they rely on an MGM formula and lack all the frenetic intensity of the comedians' earlier non-MGM efforts.
The pic is a by-the-book effort where the Marx Brothers ain a circus. Despite this, the pic is low on free energy and laughs--and should under no circumstances be confused with Chaplin's film The Circus.
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Too Much Music in This Nearing-The-End MB Film
I love the Marx Brothers, but that doesn't hateful all their films are gems. By the cease of the 1930s, their best pictures were all behind them. Although still entertaining, they slipped a bit in quality. This is one example, except I would still charge per unit it every bit "decent" (hence, the '5' rating).
Ane thing for sure: the one-act was a lot better than the music, although that was usually the case in most of their movies....but more so here. Fifty-fifty though I got my share of laughs, about the gags in this flick come in 5-x-minute "bits" and many of them go on too long. I still Chico provides the best humor among the boys. Except for "Lydia, The Tattooed Lady," the songs in here are weak and in that location are too many of them.
Light-headed, simply all the same fun to spotter, generally-speaking. I just skip through almost of the songs.
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At the Circus (1939) **
Middle-of-the-road Marxes, with some good scenes and laughs unevenly weighted down by those e'er-intrusive and out-of-identify musical numbers that then often plagued these movies. No, I'1000 not referring to Groucho'south spirited rendition of 'Lydia the Tattooed Lady'; I'm talking well-nigh hearing those two useless lead lovers crooning their sappy romantic tunes to each other ('Two Blind Loves', which is sung over and over at intervals throughout the picture show, is especially grating on the nerves). There is also a song and trip the light fantastic toe sequence that comes out of left field afterwards in the film that really feels out of place and gets in the way of things.
There are certainly some witty Groucho zingers, as well every bit vintage Harpo madness, to be establish here. It'southward merely that in that location's not enough consistency and too much of the fluff. It'due south a pity the filmmakers just didn't realize that it's the Marx Brothers we're here to see; not Kenny Bakery and Florence Rice.
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Mayhap their best; up there with Duck Soup, anyhow
zetes 21 December 2001
I wrote this right after I saw information technology, without having read other comments on it. I have to say I'm appalled by the critical injustices washed to this moving-picture show. No joke flops in this Marx Brothers masterpiece. All 3 of the remaining brothers, Groucho, Harpo, and Chico, have a plethora of smashing scenes. Groucho has possibly his best line of his entire career. I won't ruin it for you. Chico'due south best moments are as Chiccolini in Duck Soup, simply he is nearly as funny here. The scene in the midget's room is as funny a ready piece as always existed. Chico likewise has a great piano scene. Harpo is hilarious every bit well, playing a card game with a seal, and he delivers his best harp number. Usually they're atrocious, only the i here is great. He plays administrator to the races once again in this motion picture, as he did in A Day at the Races. He dances around with a group of black people who evidence up out of nowhere. These scenes might exist dated, but they're excellent in their context. I'd call them both scenes of great beauty, showing harmony between the races. Margaret Dumont, the 5th Marx Blood brother - well, maybe nosotros out to call her the fourth; she'due south in more of them than Zeppo is! - is every bit funny as usual. The only allow downward is the romantic subplot, but yous probably come up to expect that from Marx Brothers' films. Peradventure the i here will be funny to you. The guy is one of the biggest dorks in history. His girl isn't too bad though. She has a great musical number with a equus caballus. But even the ii together have a decent scene where they sing to each other while they are desperately trying to lose a waiter who's intently watching their courtship. At the Circus contains perhaps the all-time climactic sequence of their career, with the 3 brothers, Dumont, the villain, and a gorilla swing around on the trapeze swings. The final shot is a doozy, besides. 10/10.
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Gyre Out the Barrel of Fun, Chico!
Warning: Spoilers
The Marx Brothers themselves are a maniacal circus, and so information technology is just fitting that they would be the stars of the MGM characteristic "At the Circus", and for a latter-day Marx Bros. film, this one is very adept, in my opinion. Groucho equally usual is uninhibited with wordplay, sexual innuendo, and insults for his consistent foil Margaret Dumont (simply attempt not to be distracted by Groucho's atrocious hairpiece). Bearing the snazzy name of J. Cheever Loophole, Groucho supposedly portrays an attorney hired to help a traveling circus recover its stolen income. As circus employees, Harpo and Chico are allotted plenty of opportunities to apply their unique brands of comedy. And the two romantic leads, played by Kenny Bakery (as Jeff Wilson, circus possessor) and Florence Rice (as Julie Randall, performer) are very likable, except for that really corny musical number called "Two Bullheaded Loves" that they sing together ("Step Upward and Take a Bow" is considerably better). The remainder of the cast, like the circus itself, is quite colorful.
Probably the greatest highlight of "At the Circus" is Groucho's vocalizing one of his most love standbys for the remainder of his career: "Lydia the Tattooed Lady"! As yous heed to Groucho (as Mr. Loophole) sing the melody, notice how anybody else effectually him (particularly Harpo) joins in the barrel of fun. Other highlights: Did I just say "barrel"? Well, Chico (every bit Antonio "Tony" Ferrelli) provides his one-of-a-kind ivory-tickling rendition of the Beer Belly, er, the Beer Barrel Polka, complete with his difficult-to-resist smile and flash to the photographic camera. (It amazes me that Chico was able to smile at all, what with the enormous wads of cash he blew abroad with his compulsive gambling.) Punchy (Harpo) plays checkers while a friendly seal "coaches" him. Loophole and Antonio go through a bluecoat fleck at the train station, during which the puns & horseplay never stop. While Loophole is trying to trap a cigar-smoking footling person into a confession, Antonio is too dimwitted to realize that he is bungling Loophole'southward program. The wild rope/trapeze chase at the end (to the musical accompaniment of "Tiger Rag") is hilarious, specially with Gibraltar the gorilla starting the whole commotion. And although African-Americans today would be outraged seeing people of their race degrading themselves in this film, I must acknowledge that "Swingali" is not a bad jazz number.
A few gags in "At the Circus" don't really work, particularly the lengthy sequence of Tony and Punchy searching a chamber belonging to an big-headed muscle human, merely non to worry. For everyone who enjoys a good circus, this Marx Bros. film is a special treat, as sweet as the lemonade nosotros might sip with all the popcorn.
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The Marx Brothers could yet bring the funny in their latter-day At the Circus
After xxx years, I merely rewatched this latter-day Marx Brothers flick. Afterward being loaned to RKO for Room Service, the Marxes return to M-G-M without their beloved mentor there, Irving Thalberg, having died during their final hit picture in that location, A 24-hour interval at the Races. That moving-picture show was very enjoyable, if a little long. This one is much shorter, if not as funny. Nonetheless, in that location's more than than enough highlights here: a couple of Chico and Groucho scenes like the "need-a-badge-to-get-on-railroad train" and "new-cigar-needed-but-from-suspect-not-Chico", Groucho'southward number of "Lydia the Tattooed Lady", Harpo'due south number with some cool black singers mixed with his as-always touching harp solos, Chico's piano playing, and, of class, Groucho's wisecracks with Margaret Dumont, the unofficial quaternary Marx brother now that Zeppo left by this time. Oh, and funny plenty reunion with Nat Pendleton from Equus caballus Feathers. Also, Fritz Feld has an amusing bit as a symphony conductor. The romantic leads of Kenny Baker, who I know from quondam broadcasts of radio'south "The Jack Benny Program", and Florence Rice don't intrude also much so I didn't mind them or their singing. Oh, and Eve Arden was also a hoot opposite the ane and only Groucho. So on that annotation, At the Circus is worth a look for any Marx fans out there, still.
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well, at that place IS a noticeable difference betwixt their Paramount movies and their MGM movies
The Marx Brothers outburst onto the scene in the 1929 comedy "The Cocoanuts". Over the next few years they starred in some of the all-time classics, namely "Equus caballus Feathers" and "Duck Soup".
And so something happened. I don't know the reason, simply they left Paramount (which financed the aforementioned movies) and moved to MGM. By that betoken, MGM was well established as the domain of happy-go-lucky musicals, and it showed in the Marx Brothers' movies. Far from the biting satire of their earlier movies, these newer movies tended to show them performing antics in various settings: opera, horse racing, and now the circus. "At the Circus" is funny, but it's no "Duck Soup".
Ignoring all that, in that location'due south plenty of laughs to be had here (and quite a few hot babes). Enjoyable in that respect. Jerry Maren (Cantlet) is best known as one of the Munchkins in "The Wizard of Oz" and died only last year, making him not only the last surviving speaking cast member from TWoO, but the last surviving bandage fellow member from a Marx Brothers movie.
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The Marx are marvelous
Groucho, Chico and Harpo are at their very best or even better-if that'due south possible-in this 1939 hit comedy At the Circus.Groucho's looking for loopholes equally the eccentric lawyer chosen Loophole.Every line he delivers is something funny.And he also sings the great song Lydia the Tattooed Lady, which was heard as well by Robin Williams in the movie The Fisher King many years later on.Margaret Dumont, the haughty straight lady in the Marx movies, shines every bit Mrs. Suzanna Dukesbury.Kenny Baker and Florence Rice are terrific as the romantic, soon-to-be-married-couple.Eve Arden takes her act to the ceiling and besides acts very well.Nat Pendleton as Goliath the Strongman gives a very strong performance.At that place are many scenes that are simply fantastic and mostly clumsily hilarious.There's also one beautiful scene, the one where Harpo Marx plays the harp with all those black women, children and men singing and listening.This is a perfect ten movie, something they don't make these days.Someone should bring the Marx brothers back.
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The Prove Must Go On
Standing in for Zeppo, "Wilson Wonder Circus" manager Kenny Baker (as Jeffrey "Jeff" Wilson) hopes to save his big-top business organisation - with help from The Marx Brothers. Sneaky lawyer Groucho (every bit J. Cheever Loophole) plus roustabouts Chico (equally Antonio "Tony" Pirelli) and Harpo (as Punchy) reach the task, with the expected madness. "At the Circus" has acquired the unwelcome reputation as a film where The Marx Brothers showed obvious refuse. Just for much of the motion picture, there is little to mutter near - the criticism leveled at the musical romance subplot is old; it'due south part of the fabric, compliments the brothers, and was really quite good for the time. Groucho, Chico and Harpo are in great course for the outstanding showtime half, with classics "Lydia the Tattooed Lady" and "Iii on a Midget" highlights. There are some tired spots, withal.
******** At the Circus (10/xx/39) Edward Buzzell ~ Groucho Marx, Chico Marx, Harpo Marx, Kenny Baker
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low on the Marxist totem pole
I used to think that "At the Circus" was the worst Marx Brothers movie, but that was before my exposure to the agonies of "Room Service." It'southward one of the worst, at any rate.
The "action" starts off with bad rear-screen project and a tedious musical number involving characters we don't even know yet. Can't you just hear an sick wind blowing through these early scenes, seeming to whisper "this motion-picture show'southward gonna suuuuck"? Well, I tin. Information technology'due south most fifteen minutes before Groucho turns up, and nigh an hour before Margaret Dumont makes an appearance. Somebody improve bring me a beer (or ten) to irksome the colorlessness...
Ah, but I complain overmuch. There is notwithstanding practiced fabric here, diamonds in the rough. Though Groucho delivers his lines like he just starting time read the script yesterday, and didn't like it much, he comes live equally soon as he's lone with Dumont. And Harpo really shines in a mediocre vehicle like this; his antics are alway charming even in the midst of his brothers dropping bombs. Certain segments - searching the strongman'southward room, walking on the ceiling with Eve Arden - work wonderfully. Trouble is, the affair doesn't hang together equally a whole, mostly because I don't care most the characters played by Kenny Baker and Florence Rice.
Ah, the immature couple - the albatross around the neck of all late Marx Brothers movies. Whereas I could tolerate the likes of Allan Jones, Bakery comes across cloying and stupid, and he's got 1 of those helium-sucker voices that merely drives me up the wall. Rice is pretty - pretty enough that I wonder why she'southward got such a loser fellow - simply what does she really do? Our resident couple barely even interacts with the Marx Brothers, and then I accept a hard fourth dimension believing that they're all friends, much less that they'd exist so invested in each others' fates. "A Night at the Opera" did the same plot, better.
And so, in my generosity, I bequeath the big ii stars on this movie. I like it for the same reason I similar "Rocky IV"; it's more footage in a expert series. Not necessarily good footage, but more than. And information technology'southward more enjoyable than both (a) piece of work and (b) going to a poetry reading at my grad school, and then I guess it's got to be worth something.
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Not Their All-time…But its the Marx Brothers…And its a Hoot
Oft Sighted equally the Starting time of the End for the Marx Brothers this is Still a Delightful Romp every bit the Film is Filled with Outrageousness as Expected and Enough Groucho Isms to Tickle the Rib.
Certain information technology has some Awful Sappy Musical Numbers, the ones Performed by the Not-Brothers, but that seemed to be a Curse of the Marxes equally well every bit Many other Golden Age Moving picture Comedians. The Studios Insisted on MUSICAL Comedies.
But Revisiting At the Circus One is Struck that the Film is Literally Filled with Laughs from one Scene to Another. It is quite Broad with its One Liners, Puns, Slapstick and Frolic. It may not be the Best Marx Brothers Movie but it is far from the Worst and Holds its Own.
The Brothers give it Their All and the Effect is a Fun Film that gets a lot of Grief but is Underrated mostly because the Marx Brothers are and then Exalted. This One is simply Another Day at Piece of work for Groucho, Chico, and Harpo, and they Certainly Earn their Money.
If You are New to the Marx Brothers, Suffice to say that it is best to View Their Movies in Chronological Order for best Results and Understanding of Their Appeal.
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"I bet your father spent the first year of your life throwing rocks at the stork."
So-so Marx Bros. attempt is not in the aforementioned league as their earlier classics but it warrants a look if you lot have already seen those films. It's certainly amend than near of their 1940s output. The plot's familiar enough: the Marx Bros. team up to help save a friend'southward business (in this case, a circus). The brothers are all in adept form here, although they're more often than not reworking old shtick. The scene in the midget's room is my favorite part. The obligatory lukewarm romance this time is supplied by Florence Rice and wall-eyed tenor Kenny Baker. The two also sing a couple of the movie's forgettable Arlen-Harburg tunes. The only proficient vocal in this is also ane of the picture's highlights, "Lydia the Tattooed Lady," equally performed by Groucho. A big plus in this film's favor is the good supporting bandage backing up the Marxes, including Nat Pendleton (in a Harpo wig), James Burke, Eve Arden, and the always fun Margaret Dumont. It'due south an enjoyable pic if one lowers expectations and doesn't wait something on par with Duck Soup or A Night at the Opera.
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Probably the all-time of their later films
Nigh Marx Brothers fans agree that their all-time film moments tin can exist found in their 1929-1937 period, and that their career went a chip downhill later on that, starting with "Room Service". Generally, I also concord with that opinion, though in that location are definitely many worthwhile moments in their terminal 6 films equally well. And from those six, "At The Circus" is arguably the all-time (the merely other possible contender is "A Night In Casablanca"). Although it suffers from the aforementioned flaws that plagued their other films of the flow - mainly long, redundant (and, in at least two cases, fifty-fifty repeated (!)) musical numbers, and a frantic climax that is more chaotic than funny - information technology also gives them some good cloth (the badge skit, the reconstruction of the crime, the "entrapment" of the midget, etc.) and has a more energetic air than, say, "Room Service" or "The Large Store". Their frequent co-get-go Margaret Dumont doesn't appear until near an hour in; the two romantic leads are largely forgettable, merely long-legged Eve Arden is notable for doing some of her acrobatic stunts herself. **1/2 out of iv.
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The Men on the Flight Trapeze
AT THE CIRCUS (Metro-Goldwyn-Mayer, 1939), directed by Edward Buzzell, became the third collaboration of the Marx Brothers at MGM. Released just ten years following their flick debut in THE COCOANUTS (Paramount, 1929), this product, which shows great hope in placing those 3 clowns of comedy, Groucho (sporting a toupee), Chico and Harpo in a circus background, demonstrates but how much their comedies take declined and how little regard the powers that be at MGM had for them, specially the mistreatment of Groucho's character in having him easily duped and pushed into a puddle of water during a heavy rain storm (Groucho quips: "If I get any drier, I'd drown!") by Chico. In spite of some depression points such as the writers having Chico play such a stupid grapheme, it does provide some great moments of hilarity, some by Harpo, who makes cinema history by breaking his code of silence past sounding out "Ah! Choo" while sneezing.
Plot summary: Jeff Wilson (Kenny Bakery) is the possessor of Wilson Wonder Circus, which consists of Julie Randall (Florence Rice), his fiancé/singer who performs a trick horse riding act; Peerless Pauline (Eve Arden), an acrobat who uses suction boots to perform her upside-down act; Goliath the strongman (Nat Pendleton - in make-upward very similar to his Sandow character from 1936's THE Not bad ZIEGFELD, along with a curly wig that resembles him with Harpo); Punchy (Harpo), Goliath's assistant; and Professor Cantlet (Jerry Marenghi), a cigar smoking midget. Jeff owes $10,000 to John Carter (James Burke), and must meet his payment borderline or else face bankruptcy. That dark, Jeff's cash settlement is stolen from him. Tony (Chico), a circus hand, helps Jeff past sending for his friend, attorney J. Cheever Loophole (Groucho), via telegram. Suspecting the robbery to exist an inside job, Loophole and Tony play detectives by investigating the staff, and getting themselves in trouble during the process. In guild to raise the coin, Loophole acquires it from Suzanne Dukesberry (Margaret Dumont, who arrives very late into the story), Jeff's wealthy aunt who had disowned him, and in return, arranges to accept Wilson'south Wonder Circus perform at her estate in identify for her hired orchestra, thus, turning a tedious society function into a real three ring circus of confusion.
On the musical program composed past E.Y. Harburg and Harold Arlen, songs include: "Footstep Up and Accept a Bow" (sung by Florence Rice); "2 Blind Loves" (sung by Kenny Baker and Florence Rice); "Beer Barrel Polka" (piano solo by Chico); "Lydia, the Tattooed Lady" (sung past Groucho); "Swingali" (performed past Harpo and black circus workers, a number quite like to "Tomorrow is Some other Day" from 1937s A DAY AT THE RACES, terminal with a Harpo harp solo); "2 Blind Loves" (reprise past Kenny Baker) "Step Up and Have a Bow" (reprise by Florence Rice), and Richard Wagner'south Prelude to Human activity 3 from "Lohengrin" (conducted by Fritz Feld to his orchestra on a floating platform equally they drift out to bounding main. Watch the stop to find out how and why).
AT THE CIRCUS suffers from poorly structured comic supplements, notably the get-go where Groucho is non to be admitted on the railroad train by Chico without first showing his badge, which he does not have. Since Chico had sent for him in the start place, why such treatment? This routine would take served them better had Groucho's graphic symbol been a total stranger. Groucho does get on the train, just with no indication every bit to how this was accomplished. Another weak link is Groucho'due south attempt in tricking a suspected midget into offer him a cigar and then it tin be compared with the one plant at the scene of the crime. However, this proves impossible since Chico constantly offers his ain cigar instead, foiling Groucho'due south plan fifty-fifty after Chico being told of the scheme in advance. A like routine with Abbott and Costello or The Three Stooges would have succeeded simply considering this is what's expected of them, or peradventure past Groucho and Harpo, merely in this case, "shut but no cigar." Bated from that, AT THE CIRCUS does redeem itself with Groucho'southward endeavor retrieving the stolen money from Peerless Pauline'southward bosom subsequently acquiring it from 1 of the crooks, and keeping it in a "rubber" place. He looks into the camera maxim, "At that place must be some style I can become that money back without getting in trouble with the Hays Office!"; Groucho's singing what was to become his signature song, "Lydia, the Tattooed Lady"; and the best saved for last beingness the circus finale at the Dukesberry manor. Any film that has the straight faced Margaret Dumont shot from a cannon and swinging on the flying trapeze while the brothers try to rescue her (and existence no help at all), makes up for the weakness that preceded this. And lookout man what the gorilla (homo in gorilla arrange, naturally) does for an encore after exposing the crooks. "Hey, Rube!"
Clocked at 87 minutes, one wonders how much ameliorate structured this story might have been had deleted scenes, such equally the courtroom sequence involving legal hawkeye Loophole (Groucho) questioning defendants on the witness stand, remained instead of the "Swingali" number or the Kenny Bakery tenor loving honey songs. Originally available on video cassette since the 1980s and currently on DVD, this sawdust one-act tin can be seen on Turner Archetype Movies. (***)
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Offset Marx Brothers Motion picture I Saw..and it was amazing.
This is one of the most hilarious comedies I've ever seen. Sure, as others have said, the romantic stuff isn't and so great, but the stuff with the Marx Brothers, peculiarly Groucho, is genius. I of my favorite scenes was the one where Groucho walks on the ceiling with that highly attractive circus perfomer. Plus, the ending, with the gorilla and the whacky last fate of the orchestra, is awe inspiring, every bit far as comedy goes. (Which is damn far!) Anyway, a swell movie.
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Groucho'due south Toupee
Whenever I run into this moving-picture show I tin can't take my optics off of Groucho'southward toupee, I'grand not sure he ever had that much pilus even when he was young. At that place are some practiced parts that I similar, (east.g. Lydia the Tattooed Lady) but overall it falls curt of any Paramount Marx Bros flick. I would never recommend anyone to see this if they've never seen a Marx movie before. Compared to Love Happy, Go West, or the te-totally unfunny Room Service, this movie'due south a riot. I have been watching all of their movies in order this week, and it amazes me how old they got between The Cocoanuts and At the Circus. Maybe the best of their later films (or maybe Dark in Casablanca) simply picket their beginning 7 movies showtime, to empathise what the Marxes are all about.
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Right square in the center
Which is to say, neither the Marx Brothers' best nor their worst, only the terminate of their slap-up period and the beginning of their refuse. MGM was just a studio that (with few exceptions) didn't understand comedy. After this GO WEST has its moments, but THE BIG Store is nigh a complete waste of time (and when I say "nearly" I'yard being charitable --- offhand I can't thing of a single good affair to say about it).
AT THE CIRCUS, on the other, manus, still has many things to recommend it, if you have the iron volition it takes to sit through the incredibly schmaltzy and irritating "love" angle. Lots of funny one liners, Harpo riding around on an ostrich and bopping people with his horn, the problematic "Swingali" number (which offends many people but somehow only makes me reflect that Harpo transcends racial barriers), a guy in a gorilla conform, and last but very, very far from least, "Lydia the Tattooed Lady".
For that number solitary you lot should run into this movie. Of course if you lot're a Marx fan y'all've seen information technology anyway --- you lot've probably even seen Dearest HAPPY.
Ugh.
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Entertaining, if defective the exuberance of their earlier outings
I have been vocal earlier about my honey for The Marx Brothers, but while I liked At the Circus on the whole it is also a little disappointing and lacks the exuberance axiomatic in an outing like A Night at the Opera and Duck Soup.
My main problem with At the Circus is a similar problem to that I had with A Day at the Races- too many musical interludes. Don't get me wrong I like musical interludes but not when there are as well many and crusade the film to drag, which was the problem hither. Some of them are nice and memorable, only others feel like filler and serve no real purpose. My side by side problem is to practice with this somewhat, the exuberance is missing, not entirely but information technology is missing and consequently the film becomes rather sluggish. And the story isn't actually anything special and seems restricted.
Nevertheless, information technology is hit visually, the incidental scoring is very nice and the dialogue is humorous and quotable. Also the gags are nifty, the end scene is quite violent but it is proficient plenty, just acquitting themselves even better are Groucho's elephantine flirtations with Margaret Dumont(in another sterling supporting performance!) and his charming rendition of "Lydia the Tattooed Lady". The trio are nonetheless fantabulous, even if some of the sense of humor is less playful than usual, and their personalities come through loud and clear.
All in all, it is good and very entertaining, but I don't recall it is the Marx Brothers' all-time. 7/10 Bethany Cox
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An enjoyable enough diversion
OK, I have (and suspect that there volition be little statement) that At The Circus is a long way from the Marx Brothers finest hr. At that place isn't the stride of Duck Soup or the wonderfully constructed whole of A Nighttime At The Opera, but within this picture at that place is plenty to make an hour and a half pass quite enjoyably.
A few fine set pieces, notably the midget/cigar routine and Harpo & Chico trying to find the money in the strongman'southward sleeping accommodation. A fine rendition of Lydia. And yous can never really see enough of a Groucho/Dumont double human activity.
The story IS incidental, and the love interest occasionally irritates...but then this is a Marx Brothers films and that generally is the case.
Information technology may non be peak drawer Marx Brothers just it is still the Marx Brothers.
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A flake weary but with some not bad highlights and a "dynamite" stop!
Warning: Spoilers
Imagine. Bad songs written by the "Wizard of Oz" songwriters. Besides much music! Very cliché, even for The Marx. Bros! Lowlights: mostly the music. Chico's piano solo and a very "racist" swing number, hands "deleted" even with Harpo'due south harp! Curiously, most 10 minutes of actual "circus", or and then it seems. Worst makeup ever on the midget and strongman (faux mustaches and wigs). Contrived plot involving stolen money, and of course the circus volition fold if it isn't found. The usual "highjinks" with Margaret Dumont and Groucho. Best scenes involve the boys and the whole affair "stinks" when they are not around. Several "highlights" make it watchable: Eve Arden every bit gorgeous "Peerless Pauline" walks on the ceiling with Groucho. The famous "Lydia the Tattooed Lady" song. Lion, monkey and gorilla jokes. Chico and Groucho wait for the stolen $x,000 and destroy the strongman's sleeping accommodation on the train. The last 10 minutes is sheer madness. "Goliath" the gorilla chasing the crook and everybody else up the flight trapezes and Margarent Dumont shot out of a cannon! The gorilla (played by Charles Gemora) is fantastic. He counts the coin at the finish similar a banking concern teller. Look for Friz Feld every bit the snooty French conductor. He is all-time known for playing "the French waiter" in countless films, over the years!
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