Margaret Dumont Movies

While The Four Marx Brothers (Groucho, Harpo, Chico and Zeppo) were appearing nightly on Broadway in Animal Crackers in the spring of 1929, they spent their days shooting their first film, The Cocoanuts, at Paramount's Astoria Studios in Long Island. Based on their 1925 stage hit, The Cocoanuts is set in Miami, where hotel manager Mr. Hammer (Groucho Marx) struggles to keep his establishment from going under. Hammer's only paying guest is Mrs. Potter (Margaret Dumont), whose daughter Polly (Mary Eaton) is in love with aspiring architect Bob (Oscar Shaw). Mrs. Potter would prefer that Polly marry the respectable Harvey Yates (Cyril Ring); what she doesn't know is that Yates is a jewel thief, in cahoots with the slinky Penelope (Kay Francis). The script was written by George S. Kaufman, and the music by Irving Berlin. ~ Hal Erickson, All Movie Guide

Though he'd been given top billing at other studios, Charles Ruggles attained star status at his home lot of Paramount for the first time in 1931's The Girl Habit. Hoping to escape the murderous wrath of a gangster, wealthy middle-aged playboy Charlie Floyd (Ruggles) tries to get himself arrested. He finally succeeds, only to be thrown into the same cell as the gangster! Then there's the problem of getting out of jail, which comes about when Charlie uncovers evidence revealing the warden to be a crook. And all of this comes about simply because Charlie's sweetheart Sonya (Tamara Geva) tried to cure our hero of his flirtatiousness. Based on a play by A.E. Thomas and Clayton Hamilton, The Girl Habit was something of a enigma, garnering huge laughs in some theaters and stony silence in others. ~ Hal Erickson, All Movie Guide

Though not the best of Bert Wheeler and Robert Woolsey's starring vehicles, Kentucky Kernels turned out to be the team's biggest financial success. Wheeler and Woolsey star as unemployed vaudevillians Willie and Elmer, who through a series of convoluted circumstances become the guardians of mischievous orphan Spanky Milford (Spanky McFarland). The boys get into plenty of trouble thanks to Spanky's predilection for breaking windows, but worse is to come: When it turns out that Spanky has inherited the Milford homestead in Kentucky, our heroes find themselves smack in the middle of an old-fashioned mountain feud. Elmer manages to arrange a détente between the warring Milfords and Wakefields, but thanks to the precocious Spanky, the feud resumes -- much to the dismay of Willie, who's fallen in love with gorgeous Gloria Wakefield (Mary Carlisle). Willie and Elmer manage to stave off the hostile Wakefields by substituting berries for bullets, but the story doesn't come to a conclusion until the boys are nearly knocked off by a firing squad. Praised to hilt for being "cleaner" than the previous Wheeler-Woolsey epics, Kentucky Kernels seems disappointing today when compared to the team's classic Diplomaniacs and Hips Hips Hooray; additionally, Spanky McFarland sabotages several potentially hilarious sequences with the most obnoxious performance of his career. Even so, the film is consistently entertaining, especially during the delightful Bert Kalmar-Harry Ruby musical number "One Little Kiss", performed by everyone in the cast from Wheeler and Woolsey to Noah Beery Sr! ~ Hal Erickson, All Movie Guide

Although some purists hold out for Duck Soup (1933), many Marx Brothers fans consider A Night at the Opera the team's best film. Immediately after the credits roll, we are introduced to Groucho Marx as penny-ante promoter Otis B. Driftwood. After a sumptuous dinner with a beautiful blonde at a fancy Milan restaurant, Driftwood tries to cadge another free meal from his wealthy patroness, Mrs. Claypool (Margaret Dumont). The dignified dowager complains that Driftwood had promised to get her into high society, but has done nothing so far. Otis B. counters by introducing Mrs. C to pompous opera entrepreneur Gottleib (Sig Rumann); all Mrs. Claypool has to do is invest several hundred thousand dollars in Gottleib's opera company, and her entree into society is in the bag. Contingent upon this plan is Driftwood's signing of Rodolfo Lassparri (Walter Woolf King), a self-important tenor. Backstage at the opera, Driftwood meets Fiorello (Chico Marx), who poses as a manager and offers to sell Driftwood the "world's greatest tenor"-not Lassparri, as Driftwood assumes, but Fiorello's pal Ricardo Baroni (Allan Jones). Instantly the two sharpsters try to draw up a contract ("The party of the first part shall hereafter be known as the party of the first part..."), which they proceed to tear up piece by piece whenever coming across a clause that displeases them (Driftwood: "That's a sanity clause"; Fiorello: "You no foola me. There ain't no Sanity Claus"). Having lost Lassparri to Gottleib, Driftwood sails back to America with Mrs. Claypool and the opera company. Gottleib arranges for Driftwood to get the tiniest, least accessible stateroom on the ship. Unpacking his trunk, Driftwood discovers that he's got to share his postage-stamp quarters with Ricardo Baroni, who has stowed away because he's in love with the opera troupe's leading lady Rosa (Kitty Carlisle). Also hiding out in Driftwood's trunk is Fiorello, who's come along because he's still Ricardo's manager, and the wacky Tomasso (Harpo Marx), Lassparri's former dresser, who has come along for the hell of it. Anxious to arrange a tete-a-tete with Mrs. Claypool in his stateroom, Otis finds out that his unwelcome guests won't leave until they're fed ("Do you have any stewed prunes? Well, give them some black coffee, that'll sober 'em up"). After ordering a huge dinner, Otis and his new friends are crowded even farther by a steady stream of intruders, including an engineer and his assistant, a cleaning lady, a manicurist, a girl looking for her Aunt Minnie, and a dozen waiters. The celebrated "stateroom scene" comes to a rollicking conclusion when Mrs. Claypool has the misfortune of opening the door. On the last night of the voyage, Fiorello, Tomasso and Ricardo sneak out of their stateroom to enjoy an impromptu ethnic festival in steerage. Ricardo sings, Fiorello "shoots the keys" on the piano, and Tomasso plays the film's theme song Alone on the harp. The stowaways are caught and thrown in the brig, but with Driftwood's help they escape. To avoid recapture, the stowaways don heavy beards and pose as three famed Russian aviators. After making a shambles of a public reception, the three reprobates hide out in Driftwood's New York apartment, where everyone conspires to drive an investigating detective (Robert Emmet O'Connor) crazy. Driftwood is fired from the opera company for associating with the stowaways, while Rosa is dismissed for refusing Lassparri's affections. In order to restore Rosa's job and put the deserving Ricardo in Lassparri's place during the opening performance of La Traviata, Driftwood, Fiorello and Tomasso concoct a scheme that will reduce the opera to comic chaos. The actual night at the opera in A Night at the Opera must be seen to be believed, but the spirit of the scene can be summed up by Gottleib's anguished cry "A battleship in Il Trovatore!" Opera was the Marx Brothers' first film for MGM, and they dearly coveted a hit after the disappointing box-office showing of their final Paramount films. With the blessing of MGM production chief Irving Thalberg, the Marxes went on the road with their brilliant writing staff (including George S. Kaufman, Morrie Ryskind and Al Boasberg) to test their comedy material before live audiences. As a result of this careful preplanning, Night at the Opera was a smash-hit gigglefest, grossing over $3 million and putting the Marxes back on top in the hearts and minds of filmgoers everywhere. ~ Hal Erickson, All Movie Guide

This espionage thriller with romantic comedy touches was loosely based on the book American Black Chamber by the real-life head of the U.S. Secret Service during World War I, Herbert O. Yardley. Bill Gordon (William Powell) is a newspaper puzzle editor who becomes a lieutenant in 1917 when he enlists to fight in the First World War. Before shipping out, Bill meets and becomes attracted to Joel Carter (Rosalind Russell), the niece of John Carter (Samuel Hinds), the Assistant Secretary of War. When Joel learns about Bill's former occupation, she arranges for his transfer to the War Department, where he is put to work code breaking for Major Brennan (Lionel Atwill). When Brennan is murdered as the result of a German-Russian spy ring's machinations, Bill investigates the spies and a comely secret agent (Bonnie Barnes), which jeopardizes his newfound romance with Joel. Russell received the role because MGM's first choice, Myrna Loy, was refusing to work for the studio at the time. ~ Karl Williams, All Movie Guide

This musical is adapted from a popular Broadway show written by George M. Cohan. It tells the tale of a team of Broadway dancers. The male partner is a real carouser, yet he is protective of his partner who is madly in love with another. Later she and her lover encounter difficulties, and their show is endangered. To save them all, the partner forsakes his wild ways. Success ensues, the show is saved; the two lovers also get to marry. Songs include: "You're My Favorite One," "On Holiday in My Playroom," "Join the Party," "Let's Get Going," "Ain't He Good Looking?" and "Dancing in the Open." ~ Sandra Brennan, All Movie Guide

Wise Girl is a medium-level screwball comedy with faintly serious undertones. Miriam Hopkins plays an heiress whose millions can't help her gain custody of her two nieces from their stubborn widowed father (Ray Milland), an impoverished Greenwich Village artist. Hoping to win the widower over without revealing her identity, the heiress disguises herself as a penniless "Bohemian" and infiltrates the Village's artists' colony. When he finds out he's been duped, the man stubbornly insists upon remaining in jail rather than hand over custody of his daughters to the headstrong heiress (yes, that's perennial Laurel & Hardy foil James Finlayson as the friendly jailer). It all turns out for the best when hero and heroine realize they're in love with each other. ~ Hal Erickson, All Movie Guide

Bert Wheeler and Robert Woolsey's final film is far from their best, but at least it never plunges to the depths reached by their earlier Silly Billies and Mummy's Boys. Adapted from an unproduced stage play called The Kangaroos, High Flyers casts Bert and Bob as Jerry Lane and Pierre Potkins, operators of an amusement park kiddie-airplane concession. Newspaperman Dave Hanlon (Jack Carson) persuades the boys to fly out to sea to pick up a life preserver which purportedly contains precious photos taken by Hanlon of the British Royal Family. What our heroes don't know is that Hanlon is head of a gang of smugglers, and that the preserver contains stolen jewels and a cache of drugs. But what Hanlon doesn't know is that, despite their boasts, Jerry and Pierre have never flown a real plane in their lives. Upon scooping up the preserver, the boys accidentally open a package of cocaine powder, whereupon they become really high flyers (how this scene got past the censors is astonishing). They crash-land in the backyard of wealthy Horace Arlington (Paul Harvey), who fears that there's a sneak thief at large on his property (actually the "crook" is Arlington's pet dog). Assuming that Jerry and Pierre are the private eyes, he's summoned to his estate to protect the priceless Markoff Diamonds. Arlington gives the boys full reign over the household, allowing Jerry to romance Arlington's daughter Arlene (Marjorie Lord) and Pierre to spoon with household maid Maria (Lupe Velez). Things get really hectic when Hanlon and his fellow thieves converge on the Arlington household, demanding that Jerry and Pierre help them steal the Markoff gems -- or else. The whole mess is viewed with alarm by Arlington's eccentric wife Martha (Margaret Dumont), who fancies herself a fortune-teller. There are isolated moments in High Flyers that rank with Wheeler and Woolsey's best, notably Bert Wheeler's imitation of Charlie Chaplin and Bob Woolsey's song-and-dance duet with Lupe Velez. Also fascinating in a bizarre sort of way are Velez's impressions of Simone Simon, Dolores Del Rio, and Shirley Temple! All in all, however, High Flyers is a stilted, mechanical effort, garnering the team some of their worst reviews. Whether or not Wheeler and Woolsey would have been retained by RKO after the lukewarm box-office reception to this film is a moot point: Gravely ill with kidney disease, Robert Woolsey was confined to his bed after the film wrapped, where he remained until his death 14 months later. ~ Hal Erickson, All Movie Guide

A Day at the Races was the Marx Brothers' follow-up to their incomparable A Night at the Opera. Groucho Marx is cast as Hugo Z. Hackenbush, a veterinarian who passes himself off as a human doctor when summoned by wealthy hypochondriac Emily Upjohn (Margaret Dumont) to take over the financially strapped Standish Sanitarium. Chico Marx plays the sanitarium's general factotum, who works without pay because he has a soft spot for its owner, lovely Judy Standish (Maureen O'Sullivan). Harpo Marx portrays a jockey at the local racetrack, constantly bullied by the evil Morgan (Douglass Dumbrille), who will take over the sanitarium if Judy can't pay its debts. After several side-splitting routines--Chico selling Groucho tips on the races, Chico and Harpo rescuing Groucho from the clutches of femme fatale Esther Muir, all three Marxes conducting a lunatic "examination" of Margaret Dumont--the fate of the sanitarium rests on a Big Race involving Hi-Hat, a horse belonging to the film's nominal hero, Allan Jones. Virtually everything that worked in "Opera" is trotted out again for "Races", including a hectic slapstick finale wherein the Marxes lay waste to a public event. What is missing here is inspiration; perhaps this is due to the fact that MGM producer Irving Thalberg, whose input was so essential to the success of "Opera", died during the filming of "Races". Even so, Day at the Races made more money than any other previous Marx Brothers film--the result being that MGM, in the spirit of "they loved it once", would continue recycling Races' best bits for the studio's next three Marx vehicles. ~ Hal Erickson, All Movie Guide

Based on the Clare Booth Luce play of the same name, this MGM comedy is justly famous for its all-female cast and deft direction by George Cukor. The plot centers on a group of gossipy high-society women who spend their days at the beauty salon and haunting fashion shows. The sweet, happily wedded Mary Haines (Norma Shearer) finds her marriage in trouble when shopgirl Crystal Allen (Joan Crawford) gets her hooks into Mary's man. Naturally, this situation becomes the hot talk amongst Mary's catty friends, especially the scandalmonger Sylvia Fowler (Rosalind Russell), who has little room to talk -- she finds herself on a train to Reno and headed for divorce right after Mary. But with a bit of guts and daring, Mary snatches her man right back from Crystal's clutches. Snappy, witty dialogue, much of it courtesy of veteran screenwriter Anita Loos, helps send this film's humor over the top. So do the characterizations -- Crawford is as venomous as they come, and this was Russell's first chance to show what she could do as a comedienne. And don't discount Shearer -- her portrayal of good-girl Mary is never overpowered by these two far-flashier roles. The only part of The Women that misses is the fashion-show sequence. It was shot in color -- an innovative idea in its day -- but now both the concept and clothes are dreary and archaic. Do keep an eye on the supporting players, though, especially Mary Boland as the Countess DeLage. The role was based on a cafe society dame of that era, the Countess DiFrasso, who had a wild affair with Gary Cooper; that romance is satirized here. ~ Janiss Garza, All Movie Guide

In the last of the Marx Brothers' MGM films, The Big Store, Groucho Marx plays two-bit detective Wolf J. Flywheel, hired by department-store owner Martha Phelps (Margaret Dumont) to act as bodyguard for Martha's nephew and sole heir, Tommy Rogers (Tony Martin). Crooked store manager Grover (Douglas Dumbrille) is anxious to take over the operation and to hide the fact that he's been juggling the books; to expedite this, he has arranged several "accidents" to put Tommy out of the way. Despite his monumental ineptitude, Flywheel manages to protect Tommy from harm, with the help of his mute assistant, Wacky (Harpo Marx), and Tommy's music-teacher pal, Ravelli (Chico Marx). After a series of yawn-provoking complications, Grover tries once more to kill Tommy during a musical reception given in honor of the store's merger with the Hastings Brothers. When this also fails, he kidnaps Tommy's girlfriend, Joan (Virginia Grey), a bit of skullduggery captured on film by camera-wielding Ravelli. Grover's efforts to get his hands on the incriminating photo leads to a zany slapstick chase through the department store, culminating in the villain's capture ("I told you in the first reel he was a crook," observes Flywheel) and a happy ending for Tommy and Joan. The opening routine in Groucho's seedy office and Harpo's harp solo (in which, through trick photography, he accompanies himself on flute and bass violin) are the only scenes truly worth watching in The Big Store; the big-chase finale is compromised by the fact that the Marx Brothers' stunt doubles do all the work, while the film's major production number, "Tenement Symphony," is downright embarrassing. The Marxes were so disappointed with The Big Store that they vowed to quit moviemaking altogether -- only to return to the screen five years later in A Night in Casablanca. ~ Hal Erickson, All Movie Guide

A Clarence Buddington Kelland story was the source for the mildly farcical For Beauty's Sake. If he wants to inherit a fortune, bookish astronomy professor B. E. Dillsome (Ted North) must operate his aunt's beauty parlor for a two-year period. Business is very, very slow, prompting Dillsome's girlfriend Dime Pringle (Marjorie Weaver) to bring in a hot-shot press agent Jonathan B. Sweet (Ned Sparks) to publicize the establishment. Before long, our benighted hero finds himself mixed up in a murder plot and a blackmail scheme. The raucous comedy relief of Joan Davis and the patented deadpan asides of Ned Sparks more than make up for the film's plot deficiencies. ~ Hal Erickson, All Movie Guide

This happy musical chronicles the exploits of a suicidal composer who is desolate after someone swiped his newest musical comedy. He is saved by three young people who join up with the writer's daughter and put on the production. With the help of a pugnacious cab driver, they manage to draw their audience from the composer's rival. Featured in the show is the extravaganza number "Ballad for Americans", which was directed by Busby Berkely. Other songs include "I Hate the Conga", "Alone", "You Are My Lucky Star", and "I Love Ya". ~ Sandra Brennan, All Movie Guide