Saturday, March 31, 2018
Series Report Card: The Marx Brothers (1946)
A Night in Casablanca
“The Big Store” was meant to be the Marx Brothers' final cinematic offering. Yet, five years later, the three would reunite for “A Night in Casablanca.” I had always assumed that the film came about because some producer had the ill-conceived idea of reuniting a successful comedy team, long after they had given up the ghosts. Apparantly, however, the Marx Brothers themselves were the driving force behind “A Night in Casablanca.” The three produced the film, developing and sharpening the material with a road show before filming began. Why would the Marxes return to theater screens after saying they were done? Supposedly, the movie was made primarily to help Chico pay off his gambling debts. I don't know if this is true but, if it is, it says a lot about “A Night in Casablanca.”
As the title indicates, the film is indeed set in the Morocan city of Casablanca. Following World War II, an escaped Nazi officer is hiding out in the country, at the Hotel Casablanca. He hopes to reclaim the stolen Nazi treasure left inside the hotel. He's killed three managers to hide his identity. The latest manager, a largely incompetent oddball named Ronald Kornblow, is not so easy to deal with. Soon, Kornblow is paired up with a self-proclaimed and a mischievous (and silent) valet. They quickly become a thorn in the Nazi's side.
There's not too much interesting about “A Night in Casablanca,” except for one minor details. In his autobiography, Harpo would write about traveling through Europe in the years before World War II and being disturbed by the rising antisemitism he witnessed. What does that have to do with “A Night in Casablanca?” Like the majority of the trio's films, the plot features the mischievous brothers messing with various squares and stuffed shirts. Except, this time, the square just happens to be a former Nazi. Aside from one line from Groucho, a sarcastic reference to “the master race,” the film never acknowledges that it's about three Jews pestering a Nazi officer. Yet it certainly adds an interesting layer to the proceedings.
Harpo is the first Marx Brother we see in “A Night in Casablanca.” He's introduced leaning against a building which collapses once he steps away. He does get some big laughs early on. The scenes of him messing with the bad guy, including sucking his toupee into a vacuum cleaner and messing with his jacket, are early highlights. That energy collapses during a long and largely lifeless scene, where he gets into a sword fight. There's a scene where he pantomimes taking a phone call from Salt Lake City by throwing salt at the receiver. Some of Harpo's bit recall gags in earlier movies. Such as when he starts eating candles and tea cups. Or when he combines the old leg-grabbing gag with a cigarette-eating shoe. It's not top-tier stuff but is worth a chuckle or two.
Being produced by the Brothers themselves, “A Night in Casablanca” mostly pushes the boring romantic leads to the side. Charles Drake, as the heroic Lt. Delmar, strikes one as a mildly compelling matinee idol type. Lois Collier is pretty as the female lead but isn't given much more to do besides that. The villainous subplot gets more attention. Sig Ruman, as the hiding Nazi, is likable hammy. He certainly digs into his ridiculous accent. Lisette Verea, as the femme fatale, probably gives my favorite performance in the film. She vamps nicely and has a rapport with Groucho during their scenes together.
As has become all too common place now with the Marxes, “A Night in Casablanca” wraps up with another excessively wacky finale. This one begins with the bad guys escaping on an airplane. The heroes leap aboard, climbing across on a ladder. There's exaggerated fighting and shuffling on the plane. Soon, the plane gets airborne before crashing into the wall of a prison. Even that isn't quite the ending of “A Night in Casablanca.” Once again, there's very few laughs to be had in this extended climax, the movie collasping into some especially desperate physical comedy, far too wacky to be enjoyed.