After two sailors are conned into buying a lame race-horse, they go ashore to sort out the problem, but when they realize that the horse is one of a pair of identical twins, their plan for revenge becomes more complicated.
The Marx Brothers take on high society. Two lovers who are both in opera are prevented from being together by the man's lack of acceptance as an operatic tenor. Pulling several typical Marx Brothers' stunts, they arrange for the normal tenor to be absent so that the young lover can get his chance. Written by
John Vogel <firstname.lastname@example.org>
An Hollywood Reporter news items noted that at one time The Marx Brothers insisted that Lesley Selander be fired because they objected to his disciplinary actions on the set. The same news item indicates that considerable reshooting was being required because a change in the picture's make-up men resulted in the "wrong" set of beards being used by the Brothers. (in the sequence in which they impersonate aviators). See more »
During the overture to "Il Trovatore" when the orchestra members turn their pages and immediately launch into "Take Me Out to the Ball Game" you can see that their score consists of two pages of sheet music side by side. If they were really following it they should have continued playing the correct music from the opera on the left-hand page before they came upon the baseball anthem, which sits atop the right-hand page where Harpo Marx placed it earlier. See more »
[costumed as Pagliacci]
Now, what have you got to say to me?
Otis B. Driftwood:
Just this - can you sleep on your stomach with such big buttons on your pajamas?
See more »
This film is the first and probably the best Marx Brothers film made by MGM. Unlike later MGM/Marx collaborations, this film has energy and creativity. However, it also has LOTS of singing--hence, the title of the movie. That means in addition to the usual Chico and Harpo songs, there is a lot of operatic-type stuff from the duo of Jones and Carlisle. For me, these songs were frankly the low-point of the picture, but for some dumb reason, Hollywood's conventional wisdom was that comedies MUST have musical numbers to be appreciated by wider audiences. This same formula was foisted upon WC Fields, Abbott and Costello and even Laurel and Hardy. However, this movie is th rare exception that is STILL good in spite of the pointless songs.
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