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The anarchy that so delighted audiences annually from 1929 to 1932-starting with The Cocoanuts and continuing with Animal Crackers, Monkey Business, and Horse Feathers-had unaccountably soured, and it didn’t seem likely that the vaudevillian mischief-makers could transition into doing another schtick onscreen. (It’s my favorite comedy of all time, and one of my five favorite movies, period.) It was tepidly received at the time, attacked for its politics and poor timing in a period of national and global upheaval, and the brothers went their separate ways, with Chico and Groucho retreating to radio and Harpo performing in the Soviet Union after the revolution.
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Two years earlier, the Marx brothers completed their wondrous five-year run at Paramount Pictures with Duck Soup, but only history would later judge it a triumph. Then again, at least it was the beginning of something. It was also the beginning of the end for the Marx brothers. A Night At The Opera was a huge critical and commercial hit, and no less reputable a source than Groucho himself considered it and its follow-up, A Day At The Races, the best films they ever did. It contains a few of the Marx brothers’ most celebrated sequences, like the brilliant stateroom scene, which piles 15 people and a steamer trunk into the smallest cabin on a transatlantic ship, and Groucho and Chico’s contract negotiation, a masterpiece of tangled legalese and ripped clauses. (Incidentally, the other three, along with such stone-cold classics as The Lady Eve and It’s A Gift, rank below Arthur, so take that with several grains of salt.) It was selected for preservation in the fourth year of the National Film Registry, in the same wave that included the screwball standards It Happened One Night and His Girl Friday. 5), among the five Marx brothers movies on the list. On AFI’s list of the 100 funniest comedies of all time, 1935’s A Night At The Opera ranks 12th, second only to its predecessor, 1933’s Duck Soup ( No.
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While Burns and Crosby were enjoying every moment watching the LACC's upper crust trying to figure out a way to defuse the situation without causing an media frenzy, apparently Louis was blown away with the entire situation and remarked later in life how Harpo was one of the finest people he had ever had the honor of knowing.“Whatever it is, I’m against it.” -Groucho Marx, Horse Feathers The fact Louis was an unknown black man playing at the LACC set off all sorts of red flags and Harpo knew it.Īs the afternoon grew hotter, Harpo became more pissed about the long pants he was forced to wear and decided to take his earlier reprimand to heart by playing the final 9 holes wearing nothing but his golf spikes.after all, he was told not to wear shorts. Harpo then contacted a young, up and coming boxer from Detroit he had recently befriended by the name of Joe Louis. Frank Sinatra was also a member of their usual foursome, but couldn't attend on this particular day. On his next round of golf he teamed up with his usual group which consisted of good friends George Burns and Bing Crosby. He was sternly reprimanded and reminded that "shorts were for public courses and not be be worn at an establishment such as the L.A. One time after a round during an unusually hot day when he wore shorts, he was summoned into the president's office for a talk about his attire. Country Club and apparently always getting into trouble. Over the summer I read a biography on Harpo who was a member at the distinguished L.A. I loved how these guys thumbed their noses at high society.