How others will see it. Groucho's mustache and eyebrows appear to be painted on, but it's certain that Marx Brothers fans don't care. A few slow moments, such as the requisite Harpo harp solo, do not interfere with the quality of the silliness. A Night at the Opera it is not, but there's plenty here to be treasured, including, surprisingly, Groucho's version of the ubiquitous theme, "Everyone Says I Love You."
How I felt about it. There are four Marx Brothers, but they are not equal. Zeppo gets least billing, while Groucho is the star. Harpo has his moment or two, which are beyond the ability of this writer to explain without elaborate context. He gets the best of a policeman, and there's a cake of ice tossed out the window, but you'll have to see the film to understand why these fragments are funny.
Chico is mostly present for brief Vaudeville-style routines with Groucho. Harpo can't talk, and Zeppo isn't funny, so Chico is needed as a sparring partner for Groucho's verbal jabs. Groucho, of course, also gets to court the girl, with his inimitable blend of indifference, self-awareness, avarice, and insults.
Alas, Margaret Dumont isn't present to receive humiliation from Groucho, but blonde bombshell Todd is a satisfactory substitute, and sure enough, she gets hers. Dumped into a lake by Groucho, she implores him for a life saver, and he obliges by tossing her a piece of the annular minty candy.
Is there any doubt that Huxley will defeat the proud Darwin U? Does it really matter which one of her five paramours Thelma Todd wil choose? Will Harpo shovel the entire college library into the fire? Is there a pompous professor in the university that Groucho, Harpo, and Chico won't torment? Anyone who has seen their quota of Marx Brothers films knows the answers to all these questions.
The real question is, can a comedy routine based on anarchy provide a coherent film? For the Marx Brothers, yes, for about ten years. And perhaps longer, if the sound era had come sooner.