- Overview
-
Reviews
- Compare Prices
User ReviewRead All Reviews »
Harpo Doesn't Meet Ingrid and Bogie
Pros
A fun movie, though not a good example of Marx Brothers at their best.
Cons
Repetition of earlier routines, average acting.
Recommended it?
Yes
The Bottom Line:
The movie has flaws, but I like it for its entertainment effect. The Marx Brothers are older and not as crisp, but still entertaining.
During preparation of the movie, A Night in Casablanca, the Marx Brothers received a stern letter from Warner Brothers directing them not to use "Casablanca" in the title. WB's film of that name, starring Ingrid Bergman and Humphrey Bogart, had been released several years earlier. In his relentlessly sarcastic style, Groucho Marx sent a letter to WB, in which he stated that he doubted movie fans would ever confuse Ingrid Bergman with Harpo Marx. He further suggested that perhaps the Marx Brothers should be upset at use of the word "Brothers" in Warner Brothers' corporate name. After some further wrangling, nothing ever came of WB's threats over the title, and the Marx Brothers' A Night in Casablanca was released in 1946.
Unfortunately, this Marx Brothers movie, though sporting some funny moments, is a shadow of their earlier efforts; however, of the several movies made in their waning years, this is certainly the best.
The plot involves the attempts of post-war Nazis to gain control of the Hotel Casablanca, where, years before, they had stashed a stolen treasure worth millions. They want to install one of their own, Heinrich Stubel, as the hotel manager, to gain access to the treasure. Enter Kornblow (Groucho), the newest manager, hired by the Governor and Prefect of Police after several other managers had been murdered. Pierre, a French patriot, believes the Nazis are committing the murders because of the treasure, but no one will listen to him.
Groucho, Chico, and Harpo repeat their famous characterizations. Though their characters have few significant differences from one film to the next, they are still interesting and funny to watch. Groucho, as the inept manager, is the perennial wise guy. Chico, playing a camel taxi owner turned bodyguard, butchers an Italian accent better than anyone. Harpo as Rusty, the villain's valet, takes center stage with facial expressions that prove how much he didn't need to talk.
Sig Ruman, who worked in several of the previous Marx Brothers' movies, plays Heinrich Stubel. Other than overacting in several scenes, Ruman is a perfect foil for Groucho and Harpo. The sequence in which Harpo, his valet, dresses him is humorous and well-timed, with Harpo putting a vest on Stubel inside-out, reversing it without removing it, and then finishing him off with an inside-out dinner jacket.
The acting from the rest of the cast ranges from average to bad. The Prefect of Police (Dan Seymour), the Governor (Lewis Russell), and Pierre (Charles Drake) are the worst. The Prefect and the Governor use horrible French accents, and Pierre doesn't even attempt one (probably a good idea.) All three deliver lines in an overemphasized style.
Beatrice (Lisette Verea) is a singer at the hotel who secretly works for Stubel. She sets Kornblow up to be killed, but in the end, believing herself betrayed by Stubel, she switches sides. Some of the wittiest dialogue is between Kornblow and Beatrice ("…I think you're the most beautiful woman in the whole world." "Do you, really?" "No, but I don't mind lying if it'll get me somewheres.")
One of the funniest scenes is one in which the Marx Brothers hide in Stubel's hotel room while he's packing before making his escape with the loot. They slink around, unpacking everything he packs, driving him to total confusion and frustration.
Another comical sequence is one in which Harpo and Chico cram people into the hotel restaurant, adding table after table. It becomes so packed that people can hardly stand. This scene is reminiscent of the hysterical one from A Night at the Opera, in which people are packed so tightly into a closet-sized room that they pour onto the floor when someone opens the door.
In A Night in Casablanca, we see many other Marx Brothers conventions used in previous films:
•
Chico playing the piano (of course)
•
Harpo playing the harp (of course)
•
Groucho wooing a hot number whose intent is to double-cross him
•
Chico serving as a bodyguard
•
Harpo working as a valet for the villain
•
A chaotic chase at the climax
•
A subplot about young lovers
A big musical production, present in many of their previous films, is missing from this one, though we do hear the song, "Who's Sorry Now?" The rest of the music is nothing memorable. At times, it seems too heavy and serious for the nature of the movie.
Many of the movie's routines are reworkings of those in earlier Marx Brothers' films. Examples: Harpo trying to pantomime a critical message to Chico; Chico constantly interrupting Groucho while he's trying to spark a romantic evening. Overall, the crispness of the routines is gone. In the pantomime, Harpo works hard to make it click, but Chico appears to be on autopilot.
The editing is occasionally annoying. The dialogue stops for a split second while the action continues before fading to another scene. The effect is that scenes are cut off abruptly, seeming incomplete. We also see characters continuing to speak or gesture for a few moments, though we can't hear what they re saying.
Though I wouldn't rate this as one of the best Marx Brothers' films, it does have its moments. Despite my criticisms, I found myself chuckling at many spots. It contains wit and slapstick. It's pure silliness and escapism. We all need a little of that from time to time.
FYI: there were no documented confusions between Bergman and Harpo.
Other late years Marx Brothers movies that don't quite meet the standards set in the earlier films:
•
The Big Store (1941)
•
Love Happy (1949)
Unfortunately, this Marx Brothers movie, though sporting some funny moments, is a shadow of their earlier efforts; however, of the several movies made in their waning years, this is certainly the best.
The plot involves the attempts of post-war Nazis to gain control of the Hotel Casablanca, where, years before, they had stashed a stolen treasure worth millions. They want to install one of their own, Heinrich Stubel, as the hotel manager, to gain access to the treasure. Enter Kornblow (Groucho), the newest manager, hired by the Governor and Prefect of Police after several other managers had been murdered. Pierre, a French patriot, believes the Nazis are committing the murders because of the treasure, but no one will listen to him.
Groucho, Chico, and Harpo repeat their famous characterizations. Though their characters have few significant differences from one film to the next, they are still interesting and funny to watch. Groucho, as the inept manager, is the perennial wise guy. Chico, playing a camel taxi owner turned bodyguard, butchers an Italian accent better than anyone. Harpo as Rusty, the villain's valet, takes center stage with facial expressions that prove how much he didn't need to talk.
Sig Ruman, who worked in several of the previous Marx Brothers' movies, plays Heinrich Stubel. Other than overacting in several scenes, Ruman is a perfect foil for Groucho and Harpo. The sequence in which Harpo, his valet, dresses him is humorous and well-timed, with Harpo putting a vest on Stubel inside-out, reversing it without removing it, and then finishing him off with an inside-out dinner jacket.
The acting from the rest of the cast ranges from average to bad. The Prefect of Police (Dan Seymour), the Governor (Lewis Russell), and Pierre (Charles Drake) are the worst. The Prefect and the Governor use horrible French accents, and Pierre doesn't even attempt one (probably a good idea.) All three deliver lines in an overemphasized style.
Beatrice (Lisette Verea) is a singer at the hotel who secretly works for Stubel. She sets Kornblow up to be killed, but in the end, believing herself betrayed by Stubel, she switches sides. Some of the wittiest dialogue is between Kornblow and Beatrice ("…I think you're the most beautiful woman in the whole world." "Do you, really?" "No, but I don't mind lying if it'll get me somewheres.")
One of the funniest scenes is one in which the Marx Brothers hide in Stubel's hotel room while he's packing before making his escape with the loot. They slink around, unpacking everything he packs, driving him to total confusion and frustration.
Another comical sequence is one in which Harpo and Chico cram people into the hotel restaurant, adding table after table. It becomes so packed that people can hardly stand. This scene is reminiscent of the hysterical one from A Night at the Opera, in which people are packed so tightly into a closet-sized room that they pour onto the floor when someone opens the door.
In A Night in Casablanca, we see many other Marx Brothers conventions used in previous films:
•
Chico playing the piano (of course)
•
Harpo playing the harp (of course)
•
Groucho wooing a hot number whose intent is to double-cross him
•
Chico serving as a bodyguard
•
Harpo working as a valet for the villain
•
A chaotic chase at the climax
•
A subplot about young lovers
A big musical production, present in many of their previous films, is missing from this one, though we do hear the song, "Who's Sorry Now?" The rest of the music is nothing memorable. At times, it seems too heavy and serious for the nature of the movie.
Many of the movie's routines are reworkings of those in earlier Marx Brothers' films. Examples: Harpo trying to pantomime a critical message to Chico; Chico constantly interrupting Groucho while he's trying to spark a romantic evening. Overall, the crispness of the routines is gone. In the pantomime, Harpo works hard to make it click, but Chico appears to be on autopilot.
The editing is occasionally annoying. The dialogue stops for a split second while the action continues before fading to another scene. The effect is that scenes are cut off abruptly, seeming incomplete. We also see characters continuing to speak or gesture for a few moments, though we can't hear what they re saying.
Though I wouldn't rate this as one of the best Marx Brothers' films, it does have its moments. Despite my criticisms, I found myself chuckling at many spots. It contains wit and slapstick. It's pure silliness and escapism. We all need a little of that from time to time.
FYI: there were no documented confusions between Bergman and Harpo.
Other late years Marx Brothers movies that don't quite meet the standards set in the earlier films:
•
The Big Store (1941)
•
Love Happy (1949)
