
“That’s what they call a sanity clause.”
“You can’t fool me. There ain’t no Sanity Clause!”
Designed as a comeback vehicle for the Marx Brothers, A Night at the Opera did that and more, putting 1935 audiences in stitches and entertaining comedy fans ever since. After the commercial failure of 1933’s Duck Soup (now considered a comic masterpiece), the Marx Brothers parted ways with their studio, Paramount, and signed with the legendary Irving Thalberg at MGM. With Thalberg’s blessing, and with a script by George S. Kaufman and Morrie Ryskind, the Marx Brothers did what they did best: they took their act on the road.
Each comic bit was tested in front of a live audience, as Groucho, Chico and Harpo (Zeppo had moved on to other business) performed excerpts from the script on stage. Kaufman and Ryskind toured with the Brothers as well, rewriting on a nightly basis. Finally, after each gag had been honed to perfection, the cameras rolled and A Night at the Opera came to life.
Groucho plays Otis P. Driftwood, a flim-flam man (surprise) trying to turn wealthy Mrs. Claypool (Marx Brothers regular Margaret Dumont) into a high-society gal in Milan, Italy. Driftwood’s latest bright idea is to have Mrs. Claypool make a $200,000 investment in the New York Opera Company, headed by stuffy Herman Gottlieb. With Claypool’s cash, Gottlieb hires arrogant Italian tenor Rodolpho Lassparri, who has his eye on lovely soprano Rosa Castaldi. Rosa, however, prefers the company of the handsome Riccardo Baroni, a member of the show’s chorus.
Thinking Riccardo is Lassparri, Driftwood negotiates a contract with the lad, working through his manager, Fiorello (Chico), in the famous “The party of the first part shall be known in this contract as the party of the first part” exchange. Driftwood sets sail for New York with Claypool, Gottlieb, Rosa, Lassparri and a trio of stowaways: Fiorello, Riccardo, and Lassparri’s recently fired dresser, Tomasso (Harpo). The three stowaways turn up in Driftwood’s tiny room, soon joined by a procession of crew members in the classic “stateroom scene.” After more madcap misadventures and a few musical numbers, the gang arrives in New York, where Driftwood, Fiorello and Tomasso manage to infuriate the police, ruin the opera and save the day, all in one chaotic night.
A Night at the Opera may not always read like good comedy, but the Marx Brothers’ brand of lunacy rarely does. It has to be seen and heard to be appreciated, and A Night at the Opera certainly got its fare share of viewings. The movie was a tremendous hit at the time, and it has endured as one of the Brothers’ greatest films and an all-time comedy classic.