Casino operator Johnny Lamb hires down-on-her-luck socialite Lucille Sutton as his casino hostess, in order to help her and to improve casino income. But Lamb's pals fear he may follow ... See full summary »
Embezzler, shill, all around confidence man S. Quentin Quale is heading west to find his fortune; he meets the crafty but simple brothers Joseph and Rusty Panello in a train station, where they steal all his money. They're heading west, too, because they've heard you can just pick the gold off the ground. Once there, they befriend an old miner named Dan Wilson whose property, Dead Man's Gulch, has no gold. They loan him their last ten dollars so he can go start life anew, and for collateral, he gives them the deed to the Gulch. Unbeknownst to Wilson, the son of his longtime rival, Terry Turner (who's also in love with his daughter, Eva), has contacted the railroad to arrange for them to build through the land, making the old man rich and hopefully resolving the feud. But the evil Red Baxter, owner of a saloon, tricks the boys out of the deed, and it's up to them - as well as Quale, who naturally finds his way out west anyway - to save the day. Written by
Gary Dickerson <firstname.lastname@example.org>
The name of Groucho Marx's character, "S. Quentin Quayle", caused a stir when the film was first released due to the subtle but clear joke: the use of the term "San Quentin quail", which means "jail bait". See more »
The train that the Marx brothers are driving is a locomotive of a 2-8-0 wheel arrangement. However, when the train runs off the track, the locomotive is portrayed by a 2 truck Climax type engine of a 0-4-4-0 arrangement. Then, the train reverts to the 2-8-0 once it returns to the tracks. See more »
Patchy but still fairly enjoyable Marx Bros. vehicle. Their unique brand of comedy adapts reasonably well to the Western format though, at the end of the day, a lot more could have been done with this situation; the film suffers in comparison with their 'classic' stuff, but even more so when measured against other comics' brush with the genre particularly two ambitious Buster Keaton masterworks, OUR HOSPITALITY (1923) and THE GENERAL (1927), and Laurel & Hardy's (more straightforward but) equally delightful and inspired WAY OUT WEST (1937)!
That said, a number of scenes here deliver the goods: the ticket-office sketch at the beginning, the stagecoach ride, the robbery of the safe and, of course, the climactic train 'wreck; on the debit side: the songs in this one are particularly negligible.
My verdict, therefore, is that GO WEST is a worthwhile comedy but a lesser Marx Bros. film.
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