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. However, 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 elaborate chase climax was going to be deleted before filming because MGM execs thought it was too expensive. See more »
After Quentin gets the long line of people to go to another window for tickets to west, that long line evaporates. Quentin spends only few seconds at the window. And yet all the people in the line are gone. See more »
S. Quentin Quale:
[pulls out a necklace]
How would you like a little necklace that formerly belonged to the Czarina of Russia?
No like. Me want Cadillac sedan.
S. Quentin Quale:
*She's* been off the reservation...
[tosses necklace away]
See more »
Opening card: Foreword: In 1851, Horace Greeley uttered a phrase that did much to change the history of these United States. He said: Go West, young man, go west. This is the story of three men who made Horace Greeley sorry he said it. 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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