So, for some time I’ve been writing about the Marx Bros films, writing around the Bros themselves and focussing on supporting players, scenery etc. For The Late Show, this left me several options — I could write about A NIGHT IN CASABLANCA, the last film in which all three brothers appeared in the same frame, or about THE STORY OF MANKIND, the last film to feature all three brothers (albeit in separate scenes: blame anti-genius Irwin Allen for that bright idea). But I’m choosing to focus on LOVE HAPPY, which features Harpo, Chico and Groucho in that order, and allows the brothers to interact in pairs (although Groucho is never actually in the same shot as Chico, suspiciously enough).
As a Marx film, this one suits my purposes admirably, crammed as it is with other items of (slight) interest. The behind-the-scenes credits are interesting in themselves. For starters, it calls itself a Mary Pickford Production, though how hands-on was she? The director is David Miller, who had a long career with really only one distinguished film that I can see — but SUDDEN FEAR is a pretty good one to be remembered for, although Joan Crawford and Jack Palance are about as different from the Marx Bros as you could ask. Co-writer is Frank Tashlin, and though the film isn’t good enough to be called wholly Tashlinesque, there are a great many sequences that harken forward to his later work.
Tashlin’s cowriter is Mac Benoff (me neither) but the IMDb ascribes no less than four uncredited subsidiary hacks to the project, including William “News on the March” Alland and no less than Ben Hecht. This can’t explain the scenario’s lacklustre qualities, unless Hecht was rewritten by Alland, but it does explain its incoherence (Chico affects not to know Harpo, then greets him as an old friend). Songwriter Ann Ronnell was probably responsible more for the musical content, while Harry D’Abadie D’Arrast had been an assistant to Chaplin so maybe they figured he’d be good at visual gags. And hey, it’s also Harry’s last screen credit. A last Film twice over. Harpo is credited with the idea.
Choreography is by Billy Daniels, longterm partner of Mitchell Leisen, and it’s pretty good. Which leads us to Vera-Ellen, Miss Turnstiles herself, who deserves to rank quite high among Marx Bros leading ladies, not for the acting scenes which are indifferently written and impossible to excel in, but her dancing is great and the Sadie Thompson number, in particular, passes muster as a decent musical interlude, something Marxian romps hadn’t exactly excelled in. Of course, one would prefer NO musical interludes if that led to more high-quality Marxian hi-jinks, but those are a touch thin on the ground here so one will take any entertainment one can get.
The supporting cast is unusually strong. True, nominal leading man Paul Valentine is nothing much, but we get Ilona Massey, AKA Elsa Von Frankenstein as vamp, “wearing the pants of the dreaded cat woman,” as Groucho’s VO puts it. She has two henchmen, Alphonse and Hannibal, but her thick accent renders the latter as “Honeybar.” The former is Raymond Burr, bringing a welcome touch of film noir to come. A few years of henching and he’ll be set to be a mob boss in an Anthony Mann B-picture.
Marion Hutton, Melville Cooper and Leon Belasco provide supporting comic action, and Burt Lancaster’s old circus sidekick Nick Cravat doubles Harpo in the numerous acrobatic stunt sequences. Eric Blore shows up for no reason and all too briefly. The filmmakers seem to have the idea that the Marxes need supporting clowns, when what they really need is second and third bananas. The absence of Margaret Dumont is felt. An apoplectic heavy like Sig Rumann or Louis Calhern (the walking fontanelle) would have gone a long way. Even the uncharismatic, grating bad guys of the MGM films would have been very useful.
Best known of the supporting attractions is Marilyn Monroe, whose character comes from nowhere and vanishes whence she came, and exists only to give Groucho someone worth leering at and quipping over. Supposedly the producers gave Groucho his pick of three hopefuls for the role. “Are you kidding?” he is said to have said, implying that Marilyn was the shoe-in. In terms of looks and what Billy Wilder would call “flesh impact” (or Fleischeffekt), this is certainly true. Acting-wise, without a John Huston to support her, she seems a little uncertain in some line readings, but what the hell. Monroe and Groucho on-screen together is the movie’s raison d’être,
There are other highlights, though. I’ll post my favourite scene later.
An early bit with Burr and his fellow henchie roughing up Cooper is weirdly disturbing and unfunny — Frank Tashlin seems to have believed people getting beaten up by thugs was inherently amusing — see also HOLLYWOOD OR BUST. The protracted but intermittently interesting rooftop climax features a smoking billboard — shades of ARTISTS AND MODELS. Tashlin’s brushwork can also be detected in the surreal, cartoony use made of neon signs by Harpo, who at once point evinces the ability to teleport whenever the illumination blinks off. Salvador Dali wrote an unfilmed treatment for the Marxes, GIRAFFES ON HORSEBACK SALAD, which is a lot of ill-judged nonsense and proves he really didn’t understand what was going on in their films. Unable to follow the comic logic (which is pretty language-based, and Dali’s English was worse than Chico’s), he saw only chaos. That’s kind of what bits of this climax are like. Proper comedy cohesion is lacking.
Harpo as Godzilla is an intriguing thought, though.
Still, while long stretches of this unfondly-remembered pic are eye-rollingly dull and unfunny, bits were a lot better than we remembered. With low enough expectations, the film can be pleasing. It’s like the logical next step down from THE BIG STORE, I guess. It’s like A NIGHT IN CASABLANCA never happened.