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DVD Review: “A Night in Casablanca” (1946)

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Let’s dispense with one myth right away:  the Marx Brothers did not make A Night in Casablanca to pay off Chico’s gambling debts. Though Chico always needed the money, Groucho and Harpo were itching for a big-screen comeback to erase the memory of their underwhelming MGM farewell film, The Big Store (1941).

Enter David L. Loew and the profit potential of independent production, which was appealing enough to end the brothers’ self-imposed cinematic retirement. The Marxes and Loew joined forces to create Loma Vista Productions, with United Artists handling the distribution chores on their low-budget venture.

Released in May 1946 to mixed reviews but solid box office, A Night in Casablanca would prove a fitting finale to the team’s movie career.  Perhaps their best effort since A Night at the Opera (1935), this postwar escapade features the trio in splendid form while recapturing some of the rough-edged spontaneity of their early Paramount comedies.

Before its DVD debut in 2004, A Night in Casablanca had an elusive history on the videocassette market — briefly issued by Independent United Distributors in 1983, followed by a GoodTimes budget release in 1990.  Castle Hill Productions (the copyright owner) finally rectified matters by teaming with Warner Home Video to give the film a long-overdue remastered version in excellent quality.

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However, there is a comic irony associated with Warner Home Video’s involvement.  In 1945, Warner Bros. expressed concern over the storyline of A Night in Casablanca, fearing that the Marxian farce would emulate the studio’s legendary 1942 drama. Groucho fired off a letter to Warner that has since become a classic. In 1997, Groucho’s letter was read during the Library of Congress’ bicentennial celebration:

“Apparently, there is more than one way of conquering a city and holding it as your own. For example, up to the time that we contemplated making this picture, I had no idea that the city of Casablanca belonged exclusively to Warner Brothers.  . . . You claim that you own Casablanca and that no one else can use that name without your permission. What about Warner Brothers? Do you own that, too? You probably have the right to use the name Warner, but what about Brothers? Professionally, we were brothers long before you were.  . . . This all seems to add up to a pretty bitter tirade, but I assure you it’s not meant to.  I love Warners.  Some of my best friends are Warner Brothers.”

After Groucho explained the plot in a few bizarre follow-up letters, the Marxes heard no more from the Warner legal department. “It might have been better if we filmed the letters to Warner Brothers and left the picture we made in the can,” Groucho later remarked.

In truth, the Warner correspondence was a publicity stunt, which Groucho happily admitted in a private letter:  “I wish they would sue, but as it is, we’ve had reams in the paper.”  Nevertheless, the Marxes avoided a direct parody of the Humphrey Bogart-Ingrid Bergman classic — except for the “round up all likely suspects” line (spoken by none other than Casablanca cast member Dan Seymour) and Harpo’s lively turn at the roulette wheel.

Groucho offers Harpo some brotherly advice: “Remember what happened in 1929?”

Groucho offers Harpo some brotherly advice: “Remember what happened in 1929?”

What makes A Night in Casablanca a standout among the later Marx efforts is the re-emergence of Harpo’s anarchistic brilliance, which was toned down after Duck Soup (1933).  Thanks to uncredited contributions from Frank Tashlin, Harpo dominates the proceedings from the start with the famous sight gag involving a collapsed building. After playing second fiddle to Groucho and Chico in the MGM films, the horn-honking pantomimist enjoys a long-overdue free reign.  In fact, Groucho and Chico do not appear until 10 minutes into the picture.

Directed by Archie Mayo — a Warner craftsman best known for The Petrified Forest (1936) and Black Legion (1937) — A Night in Casablanca dispenses with the MGM musical gloss and syrupy romance in favor of a more free-wheeling approach.  Set largely within the confines of the Hotel Casablanca, Groucho plays the iconoclastic manager and Chico is appropriately cast as a taxi-camel driver. Harpo initially appears as a disobedient valet to Heinrich Stubel (wonderfully played by character actor Sig Ruman — returning as a Marx foil for the first time since 1937′s A Day at the Races), an escaped Nazi who has stashed a valuable treasure in the hotel.

Amid this B-grade plot are several wild scenes and some memorable Groucho dialogue (“Never mind the staff. Assemble the guests. I’ll tell them what I expect of them”).  Placing the Marxes in a postwar setting may seem unusual, yet their shenanigans inside the Hotel Casablanca are a refreshing throwback to their first film, The Cocoanuts (1929).  In many ways, Groucho, Harpo and Chico have come full circle.

The frenetic (if somewhat belabored) climax finds the brothers on board a Nazi plane, with Harpo knocking out the pilot and taking over the controls with devilish glee. However, art historian and critic Erwin Panofsky found a deeper meaning to this sequence when A Night in Casablanca was first released:  “The disproportion between the smallness of [Harpo’s] effort and the magnitude of disaster is a magnificent and terrifying symbol of man’s behavior in the atomic age.” No doubt Chico would have responded to this social commentary by playing the “Beer Barrel Polka.”

Sig Ruman and Harpo Marx.

Sig Ruman and Harpo Marx.

Loew had little doubt that A Night in Casablanca would make money, but no one expected the picture to become one of 1946’s surprise hits.  Moviegoers and devoted fans welcomed back the Marxes with $2.7 million in worldwide ticket sales — resulting in the highest grosser of their career.

Despite renewed box-office success, the trio retired once again from the silver screen. “We decided we were coming down the stretch and that it was high time we quit while we were still partially alive,” Groucho wrote in his 1959 autobiography.  (For all intents and purposes, 1949’s Love Happy was a Harpo Marx vehicle, with Chico in support and Groucho as narrator and guest star. The three never share a single scene together.)

Though not without its faults, A Night in Casablanca is a better film than its critical reputation would suggest. And how do the Marx Brothers bid farewell as a full-fledged team?  They chase beautiful Lisette Verea through the streets of Casablanca — an appropriate finale for these anti-establishment pioneers.

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“Citizen Kane” (1941)

A new feature here at World Cinema Paradise, “Life-Changing Movies” pays tribute to those films, festivals, and other special screenings that changed the way we look at the movies. Check back here as our contributors write about their life-changing viewing experiences.

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To begin with the obvious, inevitable, but wholly justified inaugural title.

Back in the summer of 1979, I was shipped off by my parents, needing a break from their troubled teenager, for the second time to a filmmaking seminar sponsored by the appropriately named DAFT: Detroit Area Film Teachers. Held at the exclusive, historic Cranbrook boarding school in Bloomfield Hills, Michigan, teachers and students were provided all the necessary tools – camera, film, overnight processing, lighting equipment, etc. – to produce a short Super-8 film over the course of one week which would then be screened as part of a mini-festival on the final day.

The year before I had made a very modest Claymation short but somebody there, probably John Prusak, aware of my rapidly ballooning interest in movies of all kinds greeted me this year with an enormous gift: my own private Nirvana, a private classroom equipped with a Bell & Howell 16mm projector, screen, and in one corner of the room, something like 200 reels of film stacked in a pile in the corner rising five feet off the floor.

Instead of concentrating my energies on the challenge of writing, shooting, and editing a short film in just seven days, I spent all my mornings, afternoons, and nights plowing through those film cans, this effectively being the era just preceding the home video revolution. (Interestingly, however, the year before someone had gotten their hands on a VHS or three-quarter-inch copy of the still relatively new The Rocky Horror Picture Show, which we all watched one evening.)

I spent hours upon hours in that little classroom, seeing for the first time or rewatching such films as Duck Soup (1933), Lord of the Flies (1963), Night of the Living Dead (1968), untold treasures from the National Film Board of Canada and short films distributed by the late, lamented distributor Pyramid Films.

And then one evening I came across a film I’d always heard, in my teenaged naiveté, was one of the very best of its kind: Orson Welles’s Citizen Kane (1941). But by this time it was already one o’clock in the morning, far too late to watch the whole thing. But, I figured, I’ll watch the first reel, then pick up where I left off the following morning.

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Needless to say that didn’t happen. I was transfixed from the opening scenes, of Charles Foster Kane (Welles) on his deathbed in the castle-like Xanadu, by the abrupt cut to a dizzying virtuosity of filmmaking as a fake newsreel summarized his fabled life, of the next abrupt cut to the newsreel company’s screening room, where reporter Jerry Thompson (William Alland) is assigned to find  meaning in Kane’s last words. With short breaks to change reels I finished watching this momentous triumph of movie-making around 3:30 am. And then proceeded to watch it a second time, then and there. And I watched it twice more before the week was over.

(Built in 1922 by the famed Finnish architect Eliel Saarinen, Cranbrook, cavernous and bereft of students due to the summer holiday, was especially at night an eerie place to stay, and in its own way quite reminiscent of Kane’s Xanadu.)

Alfred Hitckcock’s Vertigo (1958) last year famously bumped it from Sight & Sound’s 50-year-old poll of the Greatest Films of All-Time but, for my money, there’s still no movie finer than Citizen Kane. I won’t attempt to explain its greatness – people have been doing that for decades – but on a personal level it’s perhaps the most startlingly entertaining of Great Movies. It’s crammed to the gills with so much creativity and ingenuity that, even when one has seen it close to 50 times as I have, there are still always new things to discover. And it still dazzles. It’s as fresh in 2013 as it was 70-plus years ago.

Seeing it that first time was an overwhelming experience, one that demonstrated how far filmmaking conventions could be stretched and even shattered to good effect, and – an especially important lesson in this day and age – how it’s possible to infuse a film with a deeply personal, original vision yet also so involve the audience that they lose themselves completely in the picture they’re watching, and not consciously aware of all they are seeing.

I can’t say watching Citizen Kane that week had any positive impact at all on my own filmmaking ambitions, try as I might, but it reshaped forever the way I look at movies, and made me recognize the limitless possibilities of the medium.

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