Rating: 
Summary: The beginning of the decline
Review: Many think this film the best or one of the best the Brothers Marx ever did. It's probably a matter of taste (well, it's certainly a matter of taste), but I think the first MGM comedy by the Marx Brothers is scattershot. Groucho, Chico and Harpo are in top form, and when they're on -- and allowed to dominate a scene -- the film is terrific. The stateroom scene is still funny after 70 years, and the finale at the opera is Marxist anarchy at its finest. But when they're off screen (at least a third of the movie), you're left with an embarrassing melodrama I'm sure the movegoing audiences of 1935 found as sappy as I did. Bad enough the young Italian lovers sound like they're from New England section of Italy; worse are the musical interludes, which bring the film to a halt and destroy any comedic momentum the Marxes have created. A scene where Chico, Harpo and Jones show off their musical prowess goes on far too long and completely stops the film. Their earlier comedies had musical interludes, but they were woven into the films better. The opening number in Duck Soup, for example, is a lengthy set-up to the first joke; ditto the "We're Going to War" number. When the young lovers in A Night at the Opera sing "Alone," there's nothing but the youngsters staring moonily at each other. Their voices are fine, but the studios of the time were never short of movies with beautiful youngsters singing to each other. It's unnecessary here, and it reminds you the Marx Brothers aren't on screen. "A Night at the Opera" was the Marxes' most successful comedy at the box office, and probably the most popular film they ever did. But time has been kinder to their earlier Paramount productions. Those films are stagebound, but they have a madcap energy the MGM films never recovered. If you're a real fan of the Marx Brothers, you've probably already seen this; the rest of you should start with Duck Soup or Horse Feathers. A Night at the Opera was, unfortunately, the beginning of the end for this legendary team.
Rating: 
Summary: The 2nd Best Marx after Duck Soup
Review: Night at the Opera is different from their first 5 - in a nutshell, as everyone else had commented, there's no Zeppo, more music, Margaret Dumont is back, bigger role for romantic leads, and the comedy is somewhat more disciplined, i.e., the antics are perhaps less spontaneous than earlier films. I understand criticisms leveled by those who prefer to skip the plot, musical numbers, and romantic plot development, but I wholeheartedly disagree that the movie is somehow lesser because of it, particularly the music. The brothers were an extemely musically talented trio, and throughout their lives saw themselved less as a Comedy show and more a variety show. To disregard the musical numbers as "filler" is to show a lack of appreciation for a performing art they held in very high regard. I have always felt The Marx Bros. were more "in Character" here than in most of their other films (Duck Soup, Horse Feathers, Animal Crackers, are also good in this regard, as is Day at the races, to a lesser degree). Everything from the contract swindle ("the party of the first part...") to the organized fooling of sgt. Henderson ("now there are four beds - I know I'm crazy!") to the stateroom bit ("Is my Aunt Minnie in here?") to the methodically brilliant destruction of Il Trovatore in the finale are examples of great writing that suited the personalities of the brothers. Duck Soup or Horse Feathers may be their funniest films, and Animal Crackers may be more memorable for it's classic scenes, but Night at the Opera in my opinion is the most well-balanced of all thier movies. I feel it's the best-written, best-produced, has the best plot, and contains BY FAR the best acting among suporting roles. If Duck Soup weren't so well-paced and funny, Night at the Opera would be my favorite.
Rating:
Summary: The Marx Brothers at their very, very, best. Classic Comedy
Review: On the one hand I want to say that I think "A Night at the Opera" is the greatest Marx Brothers comedy because their peculiar brand of lunacy works better when given a real world target such as Opera than in the fantasy land of Freedonia in "Duck Soup." On the other hand I want to say that I think "A Night at the Opera" has more funny stuff in it than "Duck Soup." I do not even want to begin to get into any consideration of what difference the retirement of Zeppo meant in all this. I just want to laugh my head off. Groucho is Otis P. Driftwood, too busy trying to fleece Mrs. Claypool (Margaret Dumont) to waste time running an Opera Company. Harpo is Tomasso, the much abused valet to the pompous tenor Rudolpho Lassparri (Walter Woolf King), while Chico is Fiorello, self-appointed agent for the unknown but talent young singer Ricardo Baroni (Allan Jones), who is in love with Rosa Castaldi (Kitty Carlisle). When Groucho loses his job to stuffed shirt Herman Gottlieb (Sig Ruman), it is up to the Marx Brothers to restore order and sanity to the universe. In terms of classic comic routines "A Night at the Opera" gives you (1) the Stateroom scene with all those people (and don't forget the hardboiled eggs); (2) Groucho and Chico discussing the clauses in a contract (including the Sanity Clause); (3) Chico and Harpo working "Take Me Out to the Ballgame" into the overture of the opera (get your peanuts); (4) a dinner date between Groucho and Margaret Dumont (looking at him is the price you have to pay); and (5) Chico the Russian aviator explaining how they flew across the Atlantic Ocean in a boat (always remember to take enough gas or else you will have to turn back). There are more-you now Chico plays the piano, Harpo plays the harp, and Groucho deflates a pompous windbag at some point--but I want to talk about other things now. I think the person who really helps sell this film is Kitty Carlisle. In every Marx brother movie there are the boys, there is Margaret Dumont as the foil, and then there are the young boy and girl who sing their way into your hearts. Carlisle and Jones (the only boy singer to appear in more than one Marx Brothers movie) are clearly the best pair to ever take on these thankless roles. The boys clearly like her and take her seriously, which she does in return, giving "A Night at the Opera" a sense of heart. This does not happen in Marx Brothers movies (compare it to the campy efforts of the young lovers in "Animal Crackers"). On top of all this, Carlisle and Jones can sing and their duet from the end of Il Travatore is much better than all the sappy songs that the lovers usually sing in these films. "A Night at the Opera" is directed by Sam Wood (who would later spend some time directing scenes on that "Gone With the Wind" film you hear so much about). James Kevin McGuineess receives story credit but the key thing is that George S. Kaufman had a major hand in the script (until it ended up in the hands of the actors of course). Notes: Look for the father of the Marx brothers on the pier when the ship sets sail and please remember that it Leonard's stage name is pronounced "Chick-o" not "Chico." Put an end to this Marxist reinterpretation nonsense.
Rating:
Summary: An exceptional comedy with something for everyone...
Review: Otis B. Driftwood (Groucho Marx), an eccentric opportunist, has been hired by an older rich woman to introduce her into the society of England, which seems to be an easy task for him. Driftwood introduces the lady to an Opera manager from New York who invites her to New York as he needs her investments in the Opera. Throughout Driftwood's venture his wit gets him into and out of trouble as frequently as he opens his mouth, and through an "accident" he meets the two brothers Fiorello (Chico Marx) and Tomasso (Harpo Marx). Driftwood is introduced through the two brothers to the promising Ricardo Baroni and together the four begin a comical adventure of astronomical proportion that brings them fame and fortune. Night at the Opera is a hilarious comedy that contains both slap-stick comedy and witty dialogue that will entertain any audience. In addition, there are a several scenes with interesting cinematography and scene set up that are nothing short of spectacular, which lends support to the films exceptional cinematic experience.
Rating:
Summary: An exceptional comedy with something for everyone...
Review: Otis B. Driftwood (Groucho Marx), an eccentric opportunist, has been hired by an older rich woman to introduce her into the society of England, which seems to be an easy task for him. Driftwood introduces the lady to an Opera manager from New York who invites her to New York as he needs her investments in the Opera. Throughout Driftwood's venture his wit gets him into and out of trouble as frequently as he opens his mouth, and through an "accident" he meets the two brothers Fiorello (Chico Marx) and Tomasso (Harpo Marx). Driftwood is introduced through the two brothers to the promising Ricardo Baroni and together the four begin a comical adventure of astronomical proportion that brings them fame and fortune. Night at the Opera is a hilarious comedy that contains both slap-stick comedy and witty dialogue that will entertain any audience. In addition, there are a several scenes with interesting cinematography and scene set up that are nothing short of spectacular, which lends support to the films exceptional cinematic experience.
Rating:
Summary: "Was that a high C, or Vitamin D?"
Review: Otis B. Driftwood: You didn't happen to see my suit in there, did you?
Fiorello: Yeah, it was taking up to much room, so we sold it.
Otis B. Driftwood: Didja get anything for it?
Fiorello: A dollar forty.
Otis B. Driftwood: That's my suit alright. Sam Wood's "A Night at the Opera" is a film filled with the typical Marx Brothers fun. No comedy group has proven so adept at squeezing out laughs from any situation. The chaotic energy produced by the Marx Brothers truly is something to behold as no circumstance can escape unscathed from their manic, yet wildly entertaining, comedic destructiveness. Otis B. Driftwood (Groucho Marx) is a fast-talking manager who tells Mrs. Claypool (Margaret Dumont) that he can get her into high society if she agrees to invest her money in the New York Opera Company. The head of the opera company Herman Gottlieb (Sig Ruman) wants to use her money to hire Italian sensation Rodolfo Lassparri (Walter Woolf King) but Tomasso (Harpo Marx) and Fiorello (Chico Marx) want to steal the spotlight for their friend Ricardo Baroni (Allan Jones), an up-and-coming tenor waiting for his big break. Also figuring into the mix is Rosa Castaldi (Kitty Carlisle), the beautiful soprano who is in love with Ricardo but who is also being pursued by Lassparri. "A Night at the Opera" is actually a sweet love story at its core. The destined pairing of Ricardo and Rosa is the one element of the story that keeps the film moving forward. So engaging is the couple that you're cheering for them from the start. However, Groucho, Harpo, and Chico together make up a comedic force that just will not be ignored. They do their very best to steal your attention away from the young lovers and they succeed as usual. Whether it is Otis crowding everyone from the bellhop to the manicurist into his stateroom or the diabolical plan of the trio to make the opening night audience despise Lassparri, you cannot help but smile at The Marx Brothers' exploits. The supporting actors are also in fine form as Dumont, King, Jones, and Carlisle maintain enough screen presence to keep from being overshadowed - no small feat when you consider who their co-stars are. Take a look at "A Night at the Opera" and brace yourself for the most fun you will ever have at the opera.
Rating:
Summary: "Was that a high C or Vitamin D?"
Review: Otis B. Driftwood: You didn't happen to see my suit in there, did you?
Fiorello: Yeah, it was taking up too much room, so we sold it.
Otis B. Driftwood: Didja get anything for it?
Fiorello: A dollar forty.
Otis B. Driftwood: That's my suit alright. Sam Wood's "A Night at the Opera" is a film filled with the typical Marx Brothers fun. No comedy group has proven so adept at squeezing out laughs from any situation. The chaotic energy produced by the Brothers truly is something to behold as no circumstance can escape unscathed from their manic, yet wildly entertaining, comedic destructiveness. Otis B. Driftwood (Groucho Marx) is a fast-talking manager who tells Mrs. Claypool (Margaret Dumont) that he can get her into high society if she agrees to invest her money in the New York Opera Company. The head of the opera company, Herman Gottlieb (Sig Ruman) wants to use her money to hire Italian sensation Rodolfo Lassparri (Walter Woolf King) but Tomasso (Harpo Marx) and Fiorello (Chico Marx) want to steal the spotlight for their friend Ricardo Baroni (Allan Jones), an up-and-coming tenor waiting for his big break. Also figuring into the mix is Rosa Castaldi (Kitty Carlisle), the beautiful soprano who is in love with Ricardo but who is also being pursued by Rodolfo. "A Night at the Opera" is actually a sweet love story at its core. The destined pairing of Ricardo and Rosa is the one element of the story that keeps the film moving forward. So engaging is the couple that you're cheering for them from the start. However, Groucho, Harpo, and Chico together make up a comedic force that just will not be ignored. They do their very best to steal your attention away from the young lovers and they succeed as usual. Whether it is Otis crowding everyone from the bellhop to the manicurist into his stateroom or the diabolical plan of the trio to make the opening night audience despise Rodolfo, you cannot help but smile at The Marx Brothers' exploits. The supporting actors are also in fine form as Dumont, King, Jones, and Carlisle maintain enough screen presence to keep from being overshadowed - no small feat when you consider who their co-stars are. Take a look at "A Night at the Opera" and brace yourself for the most fun you will ever have at the opera.
Rating:
Summary: Possibly one of the greatest films ever made
Review: Perhaps I'm not a typical Marx Bros fan, because I find some of the Paramount films to be a little tiring after a while. A Night At the Opera is (for me) a total pleasure from start to finish. Yes, there is a romantic subplot that gets in the way of things some, but it isn't nearly as bad as it could be. (Remember At The Circus?) The songs are easily forgetable, but they are pleasant. But none of that stuff really matters...what makes this film shine is that the Marx's are in very fine form from start to finish. There are tons of classic scenes and the film holds up surprisingly well today......just like a bona fide classic should.
Rating:
Summary: A rip roaring romp for the Marx Brothers
Review: Pompousity is punctured, authority flaunted and chaos is wreaked in grand style as the Marx Brothers save the day for two young opera singers. All the elements of a good Marx Brothers movie are here: Groucho's wisecracks and chicanery, Chico's happy-go-lucky attitude and effortless but excellent piano playing, and Harpo cutting up, and magnificently playing the Harp. The opera singing, Especailly from Ms. Carlisle, is top notch.
Rating: 
Summary: Review of Warner's DVD edition
Review: The 1935 comedy A NIGHT AT THE OPERA is a grab bag of a movie that includes physical gags, verbal gags, a romantic subplot, backstage intrigue, an operatic aria, an elaborate dance number, stunts, absurdity, and sentimentality. The main attraction is, of course, the patented zaniness of The Marx Brothers -- the acerbic Groucho, the mute Harpo, and the dim-witted Chico -- whose unique brand of comedy is often edgy, subversive, and even surreal and other-worldly. Count me as one of those who thinks that such style of comedy loses some edge in A NIGHT AT THE OPERA, where the comic trio seem out of place in a methodical plot, realistic settings, and among ordinary people. These mundane elements are also, surprisingly, engrossing enough to often upstage the comedians. Groucho's usual anti-establishment stance also seems softened in order to give way to crowd-pleasing sentimentality. The Marx Brothers, like Jacques Tati, are creators of their own comic universes, and that's where they need to inhabit, such as in the whimsical delight DUCK SOUP, the Brothers' previous film, where their presence is more dominant. With that said, A NIGHT AT THE OPERA does have some of most memorable gags in the Brothers' history. A verbal confusion with Santa Claus, a tiny room cramped with 15 people, mixing opera with baseball, and Harpo's stunts with the ropes are some of the highlights. The new Warner DVD of A NIGHT AT THE OPERA is encoded for Region 1 and 4, and has a cleaner video transfer than I expected considering the age of the film. Obviously, a video restoration has been done, as were the cases for many of recent Warner DVDs of old movies. The original mono audio is fine, save for some age-related hisses in the background. There are some jarring momentary losses of frames in a few places, such as in the scene of Groucho riding a carriage early in the movie. However, I noticed these "jumps" in older video versions as well. Both English subtitles and closed captioning are present for the film's dialogs. The lyrics to the songs "Alone" and Cosi-Cosa" are also captioned, but not subtitled. During the Verdi opera sequence, the caption simply says "[Singing in Italian]." French and Spanish subtitles are also provided, but, of course, many of the wordplays are simply lost in translation ("C'est ce qu'on appelle une clause 'sanitaire'.") None of the supplements on the disc are subtitled or captioned, however. Leonard Maltin provides an engaging and informative audio commentary for the film. He points out that the film was cut for its 1948 re-release (the version used for this DVD) in order to remove all references to Italy, which fought against America in WWII. The original opening was supposed to be a musical number showing people in Milan singing, thereby establishing the setting of the film. Although wishing to avoid analyzing the film, Maltin does try to elucidate some of the ingenious touches in the comical gags. In the famous stateroom scene, he points out the way Groucho talks at just the right moments and all the people seem oblivious to the situation are what make the scene funny. He praises the great pantomimic skills of Harpo, and thoughtfully suggests that although he might have been a great silent film star, his talent really belongs in a sound world. He gives his thoughts on Chico's patently fake Italian accent. He also laments that in the age of political correctness, Marx Brothers' films may seem passé. He says although there seems to be improvisations, the dialogs are often so intricately constructed that improvisations are often not possible. He also recounts a few anecdotes, such as the Brothers' showing up naked in producer Irving Thalberg's office at one time. The disc includes a typical half-hour making-of featurette "Remarks on Marx, which is interesting, for me, mainly for the few minutes of appearance by Kitty Carlisle, who recalls how she was originally not allowed to sing with her voice. A 20-minute musical short from 1937, "Sunday Night at the Trocadero," is included, and it features performances by Connee Boswell, The Brian Sisters, George Hamilton and his "Music Box Music" Orchestra, and a cameo by Groucho. The audio quality is so poor on this piece that I can only hear every other word. An amusing ten-minute short "How to Sleep" from 1935, starring Robert Benchley, is also present, as well as the theatrical trailer for A NIGHT AT THE OPERA. There is also a 5-minute TV appearance by Groucho in which he also recalls the naked incident in Thalberg's office.
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