Film - "A Night at the Opera"

A Night at the Opera (1935) A Night at the Opera. Dir. Sam Wood. Writ. James Kevin McGuinness and George S. Kaufman. Prod. Irving Thalberg. Perf. Groucho Marx, Chico Marx, Harpo Marx, Kitty Carlisle, Allan Jones, Walter Woolf King, and Margaret Dumont. MGM, 1935. Synopsis: The film begins in a fancy restaurant where Otis, Groucho, and Mrs. Claypool were supposed to have dinner. He‟s been sitting behind her the whole time, while she waits patiently for an hour. When he finally turns his head, he wins Mr. Claypool over by convincing her that the only reason he sat with the other women was because she reminded him of her. The scene then gets turned over to Harpo who‟s in the dressing room of a famous opera singer. He mocks him by putting on various costumes until he is ultimately thrown out of the room. Finally, the third Marx brother comes in, Chico, and Otis and Fiorello attempt to make a contract negotiating the terms to which the famous stars will perform, they have no real business with the contract, especially Chico, though they just tear the contract up until only the signature part is left, for they came to no terms of agreement. A big premiere is in progress, so these opera stars are preparing to travel to New York. When they get on the ship, Rosa, the leading lady, leaves her true love behind, the two conduct a beautiful duet and he is made to stay because he has no reputation with the public. Once the ship sets sail and Otis enters his room, which barely fits his trunk inside let alone him, he opens his suits case to find both Harpo, Chico, and Ricardo squished inside. Total chaos then fills the tiny room as approximately 25 more people clutter inside for various purposes, extending from food and cleaning to measures and pedicures. The next scene portrayed a formal dinner party amongst the great opera stars and their supporters, financially. This was later contrasted with the third class dinner party down stairs, where Ricardo sang his famous “Co Si Co Sa.” Everyone on the floor breaks out into dance and cheer, as the distinction between true talent and sheer snobbery is evident. When they arrive in New York, three distinguishable guests were honored for their great contribution to the city and the opera, but circumstances alter when the real three were replaced by Ricardo, Chico, and Harpo, who had been running from the authorities. When the story unfolds and Harpo is unable to present his speech, the truth comes out and the police fiercely chase after them. Meanwhile, Otis has just been fired for associating with these „peasants‟ as was Rosa for her connection to Ricardo. From here the games begin and the four friends decide to give the audience an opera they have never seen before. They begin by switching the musical notes, which cause chaos in the middle of a scene, while all throughout the background the „peasants‟ are being chases by authorities to land them in jail. They sing across the stage, destroy the settings, and ultimately cause the lights to go out. When this chaos reached its peak, Mr. Gottlieb, the opera head, requested Ricardo take the place, for the original Star had been locked in a room. This request was not fulfilled without Rosa and the two live their dream, together on stage. When the show is complete and the audience asks for an encore, they refuse to present one until their friends are released from the authorities. The agreement is made and Otis and Chico attempt, again, in constructing a contract with Mr. Gottlieb which ends with a tear in his jacket and a movie completion. Is this comedy “iconoclastic”? Does this film throw a custard pie in the face of social forms and assumptions? How? Are the Comics in this films anti-social? What are they rebelling against in the film? How is “normal” society dealing with them? Provide examples from the film to substantiate. During the sound era of the 1930‟s, dialogue based comedy had sprung about, though it was not really anything new. It combined the great classics film techniques as well as the ones newly learned in this era. Since now dialogue had become an essential aspect to film making, it became vital to choose characters who knew their language. The Marx brothers started as comic play writers and therefore, made the perfect match. It was the era of an exhausting depression, the audience demanded viewing movies that projected hopes, sprit, and an overall feel-good sensation which allowed them to escape from the misery of their own lives. The life depicted on the screen was always far from reality and this engaged the audience, making each films produced in that era a classic. Due to this hype and desire, a specific type of comedy emerged where the artists and writers would destroy traditional ideals and initiations, called iconoclastic. The aim behind such a comedy was to obliterate the status quo and portray much contempt toward the upper class, which had been untouched by the horrors of the depression. Comedy was genuinely vital during the Depression and stars like Marx Brothers and W.C Fields emerged. The Marx Brothers began at Paramount, where their movies had been more surreal, crazy, and free-spitted, but their transition to MGM brought about some change. “A Night at the Opera” was their first production at MGM and though it was more smoothed and polished, without the forth brother, Zeppo, this film still continued in the iconoclast tradition centering on the opera, a world constituted of snobbery and luxury. An opera is the heart of social arrogance and it comprises a pure lavishness which aims toward collecting money from the very people who are able to enjoy it, the rich. It was made for the upper class and enjoyed by them, so the Marx brothers decided to mock this whole institution. In the opening scene, when Otis and Mrs. Claypool are at diner they are joined by the head of this particular opera company and as Mrs. Claypool obtains an 8 million dollars fund, the two convince her to be a patron as it will include her as part of the society. This “part of society” obviously directs itself toward the upper class, one which becomes a fantasy for those suffering from the Depression to simply make ends meat. This snootiness is carried out through the characters as money has obviously gotten to their head. When the opera stars are on the boat to depart for New York, the fanes rave at the site of their favorite signers and ask the male lead to sing a solo for them. He responds saying that he has a slight hint of laryngitis and mutters to his friends that singing for these peasants for no money is definitely not in his contract. Rosa, on the other hand, embraces the opportunity and sings a farewell tune to Ricardo, her love. This demonstrates the sheer ideology of those who live in the clouds versus those who are on the path to success, yet still are able to see reality. Rosa is obviously singing for her love in the art, while her counterpart is merely advancing for his love in money, not his inherent talent. He shows no compassion for those lower class individuals who are unable to support his „hard work‟ and therefore bypasses any request to a free show. While Rosa sings, however; the audience is so engaged that Ricardo begins to respond in song as well, a man with genuine love and talent. When their duets is complete, Rosa turns to the opera head and emphasizes Ricardo‟s talent, yet due to his lack of „reputation‟ the head declines him the opportunity. This prestigious institution is ran and supported by rich folks as a from of entertainment for their hard to please minds. The class distinction is so prevalent in their speech and attitudes that it is portrayed brilliantly during the formal dinner on the boat. On the top desk of the boat, the elegant diner party taking place has everyone dressed to impress, seating in arrangement, and a catered dinner. Formal speeches took place, introducing distinguishable gentlemen and order was in turn. However, a couple floors below this organized event, a lower class banquet took place. The attire was less formal, there was no seating arrangement as there were no seats, and food was served in a buffet. While the preppy upper class was giving speeches and eating with forks and knives, the bottom floor slurped their pasta and broke out in song. Ricardo sang his famous piece, “Co Si Co Sa,” where all the Italian immigrants in costumes formed dance routines and followed the tune. Harpo later engaged the children with his wonderful talents on the harp and piano, shortly after Chico did the same, on the piano. While Chico played, his fingers had so much character and emotions that it resembled Chaplin‟s dance routine with the potatoes attached to forks, acting as feet. Everyone in the room was laughing and dancing, enjoying their time and taking advantage of life. This scene drastically differentiated the styles of the upper class and lower class, yet it painted another interesting picture. The talents on top were simply out to make more money, constituting the greed rich people often have and mocking them at that, while down below genuine talent was oozing through the scene. This talent was often ignored because of the lack of attention received from the “bigger men” though, in fact, it was much better. If the authorities didn‟t spend all their time chasing after the poor simply on the ground of their economic status, they might actually find genuine talent and reason for the presence of these individuals. But for those on top, it is difficult to see beyond those who do not equate to a similar position in life; they only allocate common ground with those who have comparable bank accounts. The films makers are making fun of these shallow individuals by portraying that real talent has nothing to do with money, as the duet with Rosa and Ricardo portrayed. Snobbery only degrades individuals even further, on a moral standpoint, as the opera star‟s refusal to sing a piece for his public demonstrated earlier. Later in the film, Otis was fired as Mrs. Claypool‟s adviser simply because of his association with the lower class individuals, Chico and Harpo. Rosa was similarly fired for her love and relationship with Ricardo, signifying not only the power the rich entail, but the superficiality they represent. Up until this point, Ricardo aimed toward fitting it and finding a position in the opera world. Harpo and Chico had always been ant-social as even the opening scene portrayed, with Harpo being chased out of the opera star‟s dressing room due to his experiments with the wardrobe and Chico‟s simple attempt just get a word in anywhere, with no real talent at all, not even reading. He did this in a mockery tone, not really aiming toward that success, but simply to push the buttons of those above him. Otis, though on the surface seemed to be included in the upper class through Mrs. Claypool, constantly ridiculed her statements and made her appear foolish. This classified him as an anti-social beings as well because although this status was handed to him on a silver platter her utterly refused it to intentionally mock the upper class and their arrogance. The breaking point hits when Otis and Rosa get fired and the real „pie-throwing‟ begins. From the beginning of the films the artists simply made the distinctions of class difference and upper class snobbery, but now they were fighting back. They began with switching the notes from one of the original performance pieces to “Take Me Out to the Ball Game,” and when the song came on Chico and Harpo throw balls across the orchestra, while Otis runs around the isles selling peanuts. On stage, Harpo and Chico begin to undress the actors in addition to poses as stars themselves. During all this chaos the police chase after them, as a way in which „normal‟ society attempts to deal with these anti-social beings. In one scene, Harpo slides down the stage screen, tearing it in half, and then climbed back up, only to swing from one light post to another, outsmarting the police. The scene resembles a chase from a Tarzan movie, though it was put to a stop when the lights turned out. Otis trapped Mr. Gottlieb and took his clothes and seat at to the opera next to Mrs. Claypool, while Chico and Harpo closed the Opera‟s lead in isolation as well. When the lights went out, Mr. Gottlieb had gotten free and demanded that Ricardo take the leading role. Ricardo refused unless Rosa was by his side and as Mr. Gottlieb had no choice, their prepositions were met. By the end, the audience fell in love, and demanded an encore. Ricardo refused in quoting Mr. Gottlieb earlier statement that he had no reputation. When the opera‟s real lead was set free and went on stage, the audience „booed‟ him off and that custard pie was then thrown straight in his face. The agreement took place that Harpo, Chico, Ricardo, and Otis were set free and Rosa and Ricardo then proceeded to make their appearance. In the end, while the two are on stage, Otis and Chico returned back to their contract initiation, as from the start of the film, this time with Mr. Gottlieb. The same process endures, but Harpo tears Mr. Gottlieb‟s jacket, symbolizing his degradation and succumbing to accepting the lower class. As the police did not serve well in the function of dealing with these anti-social beings, justice was served in the opposing part of society, the rich. The film makers were set out to ridicule such prestigious institutions, which can easily be torn down and repaired through the genuine talent and struggles of „common people‟. The audience wanted real talent in the closing stage, dismissing the original lead and applauding Ricardo. Throughout the whole film, the drastic comparisons of upper class to lower, as well as the treatment the lower class received from such arrogant individuals served as a mockery on higher class society. Ultimately, in the end, without these „common folks‟ Mr. Gottlieb‟s opera would have been ruined and torn to shreds. This class distinction is prevalent on an economic standpoint, yet when dealing with real talent, class plays no role. In fact, if it does, it is more likely that those down-to-earth individuals actually possess more skill than those who are merely seeking profit. And as a society, in the 30‟s, which was struggling with class issues and the economy, this mockery on upper class attitudes, knowledge, and skills was highly accepted and even appreciated. Does this comedy employ Mack Sennett’s riffing technique- that is, take a situation and then run off a series of gags that revolve around this situation? Identify the situation and then explain how the filmmaker uses the technique. Is the “riffing” in this film effective and does it make the film funnier? Why or why not? A distinguishable comic film plot, as noted in the Gerald Mast text, can be characterized through a musical term called, “riffing”. This may also extend to “goofing” or improvisation of miscellaneous bits, which was quit common in Chaplin‟s keystone comedies. This technique employs one setting and from there runs a series of gags that revolve around this fundamental event. The ties within such films usually lie in the reappearance of the well-known comic performers and the steady, fast moving pace of the film itself. Though the “A Night at the Opera” takes a serious underlying premise, mocking the rich and their source of entertainment, it does employ a Sennett style. It takes a simple place and event like the opera and throughout the movie random chaotic gag sequences take place so as to reinforce the ridicule, yet make the audience laugh as well. Remember that “A Night at the Opera” was a comedy made during the Great Depression and as such, the public demanded mockery on those who felt no effects from such a detrimental economic catastrophe, therefore; the movie would not do so well if it had no theme. The Marx brothers act as social clowns through the bodies of regular people so they, in turn, make this „riffing‟ technique possible. Though it does not characterize the movie in summation, it does stand out to an analytics critic whose goal is to search for this in various distinguishable parts. Mack Sennett had a great impression on all the greats he trained, including Chaplin, and from these greats others emerged, unable to stray too far from those who made such a significant impression on the comedic world, these primitive yet original characteristics play out frequently through later films. As stated earlier, “A Night at the Opera” maintains a strong and significant premise, yet it still complies with Mack Sennett‟s riffing technique. The first sign of this method was evident when the opera crew and various members loaded the boat and set sail to New York for the big premiere. Everyone settled in their rooms was content until Otis enters, or attempts to enter, his room. The cabin is the size of his luggage and simply to get in the door with his suit case, he must push himself in like a sardine. He finally manages to slam the door shut, with little breathing room and after about five thrusts of pulling the door inward, until it finally pays off. When the door closes, his luggage opens and Otis finds Chico and Ricardo squeezed in on top, while Harpo is fast asleep in the drawer. Chico demands that Otis allows Harpo to rest because he is attempting to sleep off his insomnia, but the other two aren‟t asleep so their mouths need to be filled. When Otis calls room service, they order enough food to feed the Chinese Army and after each order, Harpo requests hard boiled eggs. Following every demand of various entrées and hard boiled eggs to go with each, Harpo toots his horn to ensure that a third portion be ordered for him. When Otis gets off the phone, two cleaning ladies come in the room to clean the bed. Another man enters shortly after, asking some question and is followed by another cleaning lady. Seconds later, a manicurist enters the room and a lost lady looking for her room squeezes her way through as well. This scene persist for about 15 minutes as the ordering started of the gags, while the amount of people in less than ample space continued with it. Additionally, Harpo gets passed around on people‟s backs while everyone is attempting to orient themselves and accomplish the task they were designated to do. In this case, a tiny room, which started off with Otis and his trunk, already comprising a tight fit, ended with ten other people accompanying them and only after, to top it all off, three chefs came with large platters of food. That simple room was transformed into a fifteen minutes segment, with no purpose but to string gags and make the audience laugh. Needless to say, it was very successful at that. Later, on that same boat, in that same room, Harpo and Chico remain, while Otis is in the neighboring cabin. Harpo decides to open the window while the boat sways from side to side and water floods the room. He then decides to look out the window and shockingly sees Otis right next door, doing the same. Otis passes Harpo a rope, which he grabs onto and ultimately falls into the water. This cable, the audience later find out, is attached to a roller which a man on the top deck controls and only adds to the fun. Harpo is then dropped into the water and taken to the very top of the boat several times. He finally catches a window and steps on land, leading us to the next adventure. Harpo enters the room where the three distinguishable gentlemen lay side by side, tucked into their bed, all resembling each other. He takes his usual tool, scissors, and cuts the beards off these men, tapes their mouths shut, and walk away. Harpo, Chico, and Ricardo then use those beards to disguise themselves as these three gentlemen, but ultimately get caught when Harpo's speech time comes and he in unable to talk. This situation, again, took a simple event, the opening of a cabin window, and ran a series of gags off it, relating to the story only through the costume that was later compiled from the gentlemen‟s beards. Although it was hilarious, it took another fifteen minutes of the movie, simply to engage the audience in laugher and allow them a break from the movie‟s deeply woven message. This next scene, took place similarly in a room on this boat, though this time it was not Otis‟s tiny little cabin. This cabin was connected to another and both had amazing Oceanside views, with balconies. Though Chico, Harpo, and Ricardo were convicts on this ship, they were still able to enjoy a nice breakfast with Otis, where Harpo began this series of gags through his use of hot cakes. He put everything in site in those hot cakes, including cigars, dishes, and other objects in his reach. He later preceded taking powdered sugar, painting his face white, and then using syrup as a form of makeup to make a mustache. Just as the entertainment was escalading, an authority figure knocks on the door in search for Harpo, Chico, and Ricardo and terminates their breakfast. This is no way stops the fun, however. When the official enters the three initially hid in the neighboring room, where three beds lie. The audience undergoes the privilege of viewing this scene through a dual screen so that an understanding of the overemphasized chaos can take place. When the official examines the breakfast area and sees that no one is present, he proceeds to the next room, when Harpo, Chico, and Ricardo hide on the balcony. This cat chase continues for about five minutes and every time the three switch rooms, they bring one bed into the breakfast room from the adjacent one. The official thinks he is going mad as he clearly remembered three beds present in the original room. By the end, two beds had been replaced into the breakfast room and the breakfast table was moved to the bedroom, with one remaining bed. Harpo dresses up as an old lady, while Otis sits pretending to eat his breakfast, and the official apologizes for interrupting their private session. This not only proves the stupidity of this official, it also employs Sennett‟s riffing technique. They compiled a series of gags in a ten minutes scene, not only to outsmart the authority figure and escape, but also to make audience laugh until their faces turned blue. The final “riffing” sequence takes play at the opera itself. The comics took this event, the opening night at the opera, and ran a series of gags from it, though this time, it was to prove a point and get Rosa back on stage. The situation ended with the most entertaining opening night the audience has seen and would ever see. To start, Harpo and Chico switched the intended notes with that of “Take Me out to the Ball Game” and once the tune began to play, they take out baseballs, throw them across the orchestra, while Otis runs around the isles selling peanuts. The two Marx brothers then make their way on stage, undressing actors, making up their own parts, and tearing down the settings. They create total comical chaos, leading to a chase with the authorities. Harpo, at one point, slides down the background setting and then climbs back up like a little monkey, using the lamps and ropes hanging from the ceiling as supporting tools for swing through the stage like Tarzan. The opera continues until the lights go out and this scene of gags comes to a stop. They ultimately accomplished their goal and Rosa sings on stage with Ricardo, though the gag process to get there couldn‟t have been avoided. Despite the fact that Mack Sennett‟s use of „riffing‟ constructs more primitive style movies; he constitutes a legendary figure in the comic world. From that, it is almost impossible for those preceding him not to employ some of his techniques. Though, “A Night at the Opera” holds a valid fundamental theme, it does contain moments of pure farcical humor, taking a simple event or situation and continuing with a series of gags around it. This technique is extremely effective, especially at the time the movie was made because people were going to the cinema to escape from reality and to laugh their misery away. Although they wanted to see the upper class being ridiculed, they weren‟t yearning for a serious and dramatic form of entertainment. Comedy and laughter was an essential goal during the Depression and through this technique, the goal was very well accomplished. Does this comedy film have contemporary relevance in 2007, or is it dated and old-fashioned – this is, a product of its time? Explain your reasoning here. What makes it relevant or dated? De specific, providing examples. Though the current American society is not experiencing the Great Depression America in the 30‟s did, there is still a relevant hostility toward the rich and upper class. America is constantly regarded as the nation of greed, as our capitalist society engraves the values of profit-based advance to all its citizens. The nation itself is not a poor country, yet a large portion of the population is still comprised of those who sit below the poverty line. On the other hand, there are those who sit so far above it that are simply oblivious to the world around them. Many of these individuals fit in Ricardo and Chico‟s stance, while there are those special few who hold hands with Mrs. Claypool and her elegant bunch. It is difficult to identify whether this film is a product of its time or a dated commodity because it is these two extremes at make the ideal combination for classifying this movie. “A Night at the Opera” takes a satirical stance in mocking the rich at a location in which they precede and fund. In other words, it was a place for the rich, funded by the rich, and fully comprised of wealthy individuals. In today‟s society, this particular setting may be out-dated because the opera does not cost as much as it used to, in comparison with the economy. During the Depression, while people were in lines for bread, the last thing they could possibly think about was spending that extra penny on entertainment, while today‟s situation is quite different. More people, even those who make up the middle to lower class can afford the opera, as there are various events in this category which stretch from operas and plays to musicals and ballets, each ranging in price so as to please a variety of people. As stated earlier, the socio-economic position of the United States is not comparable to that of the Depression. At that time individuals were looking for a movie experience to take them away from reality, which resembled hell, and bash on those who didn‟t not accompany them in that circle. Therefore, the Marx brothers took such a posh place as the opera setting, at the time when only a few people could afford to attend it, and ran ridiculous gags around it until they accomplished their goal in allowing the lower class individuals to triumph, Rosa and Ricardo. So the setting doesn‟t necessarily hold contemporary relevance, but the fundamental premise of the film does. “A Night at the Opera” takes the side of those people who were utterly destroyed by this nation-wide economic catastrophe and employs a mockery on those who weren‟t. In our present culture, a similar hostility is present toward the upper class because our capitalist society is run by a few very wealthy individuals who manage extremely advanced corporations and those, in turn, control the media, society, and our lives. If this premise were to be taken today, then a similar idea would alter the opera setting to that of a corporate environment, which similar to the opera is run by the very wealthy and constitutes only their source of entertainment. Money is power in our society and as such, when people have money, they present an illusion of happiness which those below them strive to achieve. Just as “A Night at the Opera” demonstrated, those lower class people who lived in regular conditions, like Rosa and Ricardo, actually had more talent and lived more joyful lives. Rosa and Ricardo were in love, regardless of their class position, and there was nothing that could alter Rosa‟s mind. Just to be with the opera‟s lead on the superficial account of is economic status didn‟t phase her nor win her over. He, in turn, got furious from his rejection and spit that refusal back in her face through getting her fired. The ultimate outcome, however; was that Rosa and Ricardo sang harmoniously on stage and when the original lead retuned, he was not only surprised at the scene, he was „booed‟ off stage. Just as the formal dinner scene, which contrasted the rich and poor style of dinning, presenting that real talent comes with love and passion not the soul desire for money. The opera‟s lead refused to perform to his loving public on their departure to New York because he was not getting paid, while Rosa embraced the opportunity and enchanted the audience with a duet her and Ricardo sang. On the boat, the point was proven even further stating that not only are the rich snobby and want more money, taking further from the poor than they already have, they do not engage in their work as eagerly and this eventually plays out in their performance. When Chico and Harpo were playing the piano, then harp, their attitudes and emotions came at the children through their facial expressions and finger movements. There fingers and souls came alive, as their true passion was being excited. In compassion, to the Opera‟s lead who did the „job‟ simply for profit, we was not received as well by the audience, who rejected him off stage, after they heard real talent and enthusiasm from Ricardo and Rosa. These examples demonstrate how the underlying theme of this film, still hold accurate today. There are those few individuals who hold very high places in society and genuinely don‟t belong there. Straying from the opera setting in particular, greed and profit is not the best way to accomplish personal goals and while there are those who made it through such a manner, there are still many under them who deserve and need the benefits more. This is not to say that people who earned their place in life shouldn‟t have it, but there shouldn‟t be such a wide distinction between the upper and lower class. On a positive note, during the Depression the middle class was not as prominent as it is today, during those times it was either one extreme or the next, while today the gap is still evident, yet not as large. Unfortunately, it is growing and, therefore; this film‟s argument is holding a relevant stand point. The actual setting of the movie may seem dated, just as the actors and filming techniques, but the fundamental thesis is right on point. The sad thing is that the film was made during a Depression and now we are in 2007.