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A Night at the Opera (film)
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A Night at the Opera
theatrical poster
Directed by
Sam Wood
Produced by
Irving Thalberg
Screenplay by
George S. Kaufman
Morrie Ryskind
Uncredited:
Al Boasberg
Buster Keaton
George Oppenheimer
Story by
James Kevin McGuinness
Starring
Groucho Marx
Chico Marx
Harpo Marx
Kitty Carlisle
Allan Jones
Margaret Dumont
Music by
Herbert Stothart
Cinematography
Merritt B. Gerstad
Edited by
William LeVanway
Distributed by
Metro-Goldwyn-Mayer
Release date
November 15, 1935 (1935-11-15)
[1]
Running time
93 minutes
Country
United States
Language
English
Budget
$1,057,000[2]
Box office
$1,815,000[2]
A Night at the Opera is a 1935 American comedy film starring the Marx Brothers, and featuring Kitty Carlisle, Allan Jones, Margaret Dumont, Sig Ruman, and Walter Woolf King. It was the first film the Marx Brothers made for Metro-Goldwyn-Mayer after their departure from Paramount Pictures, and the first after Zeppo left the act. The film was adapted by George S. Kaufman, Morrie Ryskind, and Al Boasberg (uncredited) from a story by James Kevin McGuinness. It was directed by Sam Wood.
A smash hit at the box office, A Night at the Opera was selected in 1993 for preservation in the National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[3] It is also included in the 2007 update of AFI's 100 Years... 100 Movies, at number 85; and previously in AFI's 100 Years...100 Laughs 2000 showing, at number 12.
Contents
[hide]
1 Plot
2 Selected scenes
2.1 Stateroom scene
2.2 Contract scene
3 Cast
4 Production
5 Box office
5.1 Opera
5.2 Subsequent re-editing
5.3 Hungarian rediscovery
5.4 Hidden material
6 Musical numbers
7 Style change
8 Reputation and legacy
9 In popular culture
10 See also
11 Notes
12 References
13 External links
Plot[edit]
In Milan, Otis B. Driftwood (Groucho), business manager for wealthy dowager Mrs. Claypool (Margaret Dumont), has stood her up and is having dinner with another woman in the very same restaurant. When she discovers him seated directly behind her, Driftwood joins Mrs. Claypool, and introduces her to Herman Gottlieb (Sig Ruman), director of the New York Opera Company, also dining at the restaurant. Driftwood has arranged for Mrs. Claypool to invest $200,000 in the opera company, allowing Gottlieb to engage Rodolfo Lassparri (Walter Woolf King), the "greatest tenor since Caruso".
Backstage at the opera house, chorister Ricardo Baroni (Allan Jones) hires his best friend Fiorello (Chico) to be his manager. Ricardo is in love with the soprano, Rosa Castaldi (Kitty Carlisle), who is also being courted by Lassparri. Driftwood arrives and finds Lassparri attacking Tomasso, his dresser (Harpo), who knocks Lassparri unconscious by hitting him over the head with a mallet. Fiorello appears and identifies himself as the manager of the "greatest tenor in the world". Driftwood, mistakenly thinking Fiorello is referring to Lassparri, signs Baroni to a contract.
After bidding farewell to Rosa at the pier, Ricardo, Fiorello, and Tomasso stow away on board the ocean liner to New York inside Driftwood's steamer trunk. After Driftwood discovers them, he tries to get the three of them to leave, as he is expecting a rendezvous with Mrs. Claypool. They refuse to go until they've eaten, and eventually Driftwood's tiny stateroom is crowded with an assortment of people. (see Stateroom scene below)
Lassparri later spots the stowaways among the immigrants on the ship, and they are caught and thrown into the brig. They escape with help from Driftwood and are able to sneak into the country by assuming the identities of three famous bearded aviators,[n 1] who are traveling aboard the ship. After a welcoming reception in New York, the stowaways' true identities are discovered and they hide out in Driftwood's hotel room, pursued by police sergeant Henderson (Robert Emmett O'Connor).
Meanwhile, Ricardo is reunited with Rosa after climbing in the window of her hotel room. Ricardo has an altercation with Lassparri, which results in both Rosa and Driftwood being fired from the opera company by Gottlieb. The boys decide to seek revenge by sabotaging the opening night performance of Il trovatore ending with the abduction of Lassparri, forcing Gottlieb to substitute Ricardo and Rosa in his place. The audience clearly prefers Baroni over Lassparri and the latter is booed and pelted with fruit after he attempts to return to the stage. The film ends with Driftwood and Fiorello attempting to negotiate another contract, as Rosa and Ricardo sing an encore.
Selected scenes[edit]
Stateroom scene[edit]
This scene, one of the most famous and funniest comedy scenes of all time,[4] was written primarily by legendary gag man Al Boasberg. Famously eccentric, Boasberg typed up the finished scene, then tore the pages into tiny pieces and tacked them to his ceiling. It took Irving Thalberg and the brothers hours to cut and paste the scene back together.
Driftwood plans a rendezvous with Mrs. Claypool in his stateroom. Then he finds out how small it is (a third class cabin, about the size of a janitor's closet), and that he, his steamer trunk, and the bed barely fit in it. Driftwood discovers that Fiorello, Tomasso, and Ricardo have stowed away in his steamer trunk and discarded his clothes. Fiorello insists on eating ("We getta food or we don't go"). Driftwood calls a steward ("I say, Stew") and orders dinner.
Driftwood: And two medium-boiled eggs.
Fiorello: (inside room): And two hard-boiled eggs.
Driftwood: And two hard-boiled eggs.
Tomasso: (inside room): (honk)
Driftwood: Make that three hard boiled eggs.
Production still photo of The Stateroom scene. Otis B. Driftwood (Groucho) says: "Is it my imagination, or is it getting crowded in here?"
This continues until Fiorello and Tomasso each have ordered about a dozen hard-boiled eggs and Driftwood has ordered about everything else—including coffee to sober up some stewed prunes. This is just a set-up for the famous "Stateroom Scene", in which a total of 15 people crowd into Driftwood's tiny cabin.
Fiorello and Tomasso have to hide out in the room while a parade of people walk in, asking to either use the cabin, or to perform their regular duties. Crammed into this little space at the end of the scene are Driftwood, Fiorello, Tomasso, Baroni, two cleaning ladies who make up the bed, a manicurist, a ship's engineer and his fat assistant, a girl passenger looking for her aunt, a maid (Maid: "I come to mop up." Driftwood: "You'll have to start on the ceiling.") and four waiters with trays of food (prompting Driftwood's classic line: "Is it my imagination, or is it getting crowded in here?"). All of the foregoing tumble out into the hallway when Mrs. Claypool opens the door.
Contract scene[edit]
The contract scene between Driftwood and Fiorello ("the party of the first part ..."):
Fiorello: Hey, wait, wait. What does this say here, this thing here?
Driftwood: Oh, that? Oh, that's the usual clause that's in every contract. That just says, uh, it says, uh, if any of the parties participating in this contract are shown not to be in their right mind, the entire agreement is automatically nullified.
Fiorello: Well, I don't know...
Driftwood: It's all right. That's, that's in every contract. That's, that's what they call a sanity clause.
Fiorello: Ha-ha-ha-ha-ha! You can't fool me. There ain't no Sanity Clause!
Cast[edit]
Groucho Marx, Sig Ruman and Margaret Dumont
Groucho Marx as Otis B. Driftwood
Harpo Marx as Tomasso
Chico Marx as Fiorello
Kitty Carlisle as Rosa Castaldi
Allan Jones as Ricardo Baroni
Margaret Dumont as Mrs. Claypool
Sig Ruman as Herman Gottlieb
Walter Woolf King as Rodolfo Lassparri
Robert Emmett O'Connor as Sergeant Henderson
Edward Keane as The Captain
Purnell Pratt as The Mayor
Harry Allen as Doorman (uncredited)
Billy Gilbert as Orchestra Member asking Fiorello not to play the piano (uncredited)
Production[edit]
The contract scene between Chico and Groucho
In an interview with Richard J. Anobile in The Marx Brothers Scrapbook, Groucho said he was so appalled by an early draft of the script—which was reportedly written by Bert Kalmar and Harry Ruby—that he screamed, "Why fuck around with second-rate talent, get Kaufman and Ryskind [to write the screenplay]!" [5]
At the suggestion of producer Irving Thalberg, the film marked a change of direction in the brothers' career. In their Paramount films, the brothers' characters were much more anarchic: they attacked anybody who was so unfortunate to cross their paths whether they deserved it or not, albeit comically. Thalberg, however, felt that this made the brothers unsympathetic, particularly to female filmgoers. So in the MGM films, the brothers were recast as more helpful characters, saving their comic attacks for the villains.
Though some Marx Brothers fans were appalled at these changes, Thalberg was vindicated when the film became a solid hit. It helped that the film contained some of what fans consider to be the brothers' funniest routines. These routines were honed on stage, as the brothers performed the new material on the road before filming began.
However, according to Oscar Levant, the first preview was a "disaster", with "hardly a laugh" as was the second. Thalberg and George S. Kaufman spent days in the editing room, adjusting the timing to match the rhythm of a stage performance. About nine minutes was cut from the running time, and the result was a hit.[6]
Box office[edit]
The film grossed a total (domestic and foreign) of $1,815,000: $1,164,000 from the US and Canada and $651,000 elsewhere. It made a profit of $90,000.[2]
Opera[edit]
True to its title, the film actually includes adaptations of some real opera scenes from I Pagliacci and Il Trovatore, featuring the Miserere duet sung by Kitty Carlisle and Allan Jones. The opera setting also allowed MGM to add big production song numbers (which were one of this studio's specialties), such as the song Alone, with the departure of the steamship, and the song Cosi Cosa with the Italian buffet and dancing.
Kitty Carlisle and Allan Jones, who were both trained in operatic singing, provided their own singing voices in the film. Walter Woolf King was a trained baritone but he portrayed a tenor in the film. His singing was dubbed by Metropolitan Opera tenor Tandy MacKenzie.
Subsequent re-editing[edit]
The film originally was to have begun with each of the Marx Brothers taking turns roaring instead of Leo the Lion (MGM's iconic mascot); Harpo was to have honked his horn. This unique opening was created, but not used in the released film because MGM studio head Louis B. Mayer felt the parody would cheapen the famous trademark. It would turn up years later, however, in a re-release trailer for the film.[7][8]
The Marx Brothers and Sig Ruman, with Robert Emmett O'Connor in the background, at the end of the film
According to MGM's dialogue cutting continuity and Leonard Maltin's audio commentary on the current DVD release, the film originally began (after the opening credits) with the image of a "boat on canal". A superimposed title read, "ITALY – WHERE THEY SING ALL DAY AND GO TO THE OPERA AT NIGHT", and was followed by a musical number featuring bits and pieces from Leoncavallo's Pagliacci performed by "everyday" Italians: a street sweeper sings part of the prologue ("Un nido di memorie...") as he greets a man who then hands out opera tickets to a group of children emerging from a store; the children respond with "la-la-la-la-la, verso un paese strano" (from "Stridono lassù"); a "captain" comes down a set of steps, salutes a sentry, then bursts into "Vesti la giubba"; then, a lap dissolve into a hotel lobby, where a "baggage man" is rolling a trunk and crooning about "nettare divino" ("divine nectar"); a waiter joins the baggage man in song, enters the dining room, and sings as he serves a man who for a few notes also sings; the waiter then crosses the dining room to speak to Mrs. Claypool (Margaret Dumont), marking the beginning of the film in existing copies. Maltin[9] stated the scene was cut during World War II to remove references to Italy, and unfortunately, the main negative was cut as well, so the scene is now lost.[10] This notable cut, with several other small ones made at about the same time, is why the stated running time of the film (95 minutes) was three minutes longer than that of existing prints.[7]
A persistent rumor concerning A Night at the Opera involves the presence of the Marx brothers' father Sam Marx (also known as "Frenchy") on the ship and on the dock, waving goodbye. Both Groucho and Harpo stated this as fact in their memoirs,[11][12] and Leonard Maltin repeats it in the DVD commentary. But this could not have occurred, because Sam Marx had died in 1933, during pre-production of Duck Soup, two years before A Night at the Opera was released.[8] The rumor arose because Frenchy had had such a cameo appearance in the Marx brothers' earlier Monkey Business. There is, however, a reference to the Marx brothers' mother, Minnie Marx, during the stateroom scene, in which a woman asks, "Is my Aunt Minnie in here?"[7]
Part of the concept of casting the Marx brothers as stowaways on a ship was recycled from Monkey Business. As Groucho's and Margaret Dumont's characters are boarding the ocean liner, Dumont asks Groucho, "Are you sure you have everything, Otis?"; Groucho replies, "I've never had any complaints yet." In two different interviews with Dick Cavett on The Dick Cavett Show – Comic Legends DVD, Groucho claimed that that exchange of dialogue was banned in a majority of states when the film was released because it was too suggestive, although the number of states varied with different tellings of the story.
Hungarian rediscovery[edit]
In 2008, a film student reported that the Hungarian National Film Archive possesses a longer print of the film.[13] While the print does not contain the opening musical number, it does contain several excised lines referencing Italy that had been cut upon the film's re-release in the 1940s. With the opening number still missing, it may be that this scene was cut after its original preview screenings during the 1930s rather than during its re-release, as previously thought. However, the discovery of the Hungarian print has not yet been independently verified, and Turner Entertainment, who owns the rights to the film, has not indicated that any restoration is forthcoming.
Hidden material[edit]
In the scene where the three stowaways are impersonating "the three greatest aviators in the world", Driftwood seems to talk gibberish with the dignitaries. Actually it is English; if played backwards, it can be heard what they are saying ("This man is accusing you of being impostors", etc.). It was recorded normally, then reversed and dubbed over the scene in post-production.[4]
Musical numbers[edit]
"Alone" (Nacio Herb Brown and Arthur Freed)
"Santa Lucia"
"All I Do Is Dream of You"
"Cosi-Cosa"
"Take Me Out to the Ballgame"
Prelude to Il trovatore
"Anvil Chorus" (from Il trovatore)
"Stride la vampa" (from Il trovatore)
"Di quella pira" (from Il trovatore)
"Miserere", (From Il trovatore)
"Stridono lassù" (from Pagliacci)
Style change[edit]
A Night at the Opera began a new era for the Marx Brothers' style of comedy. Whereas their previous comedies at Paramount Pictures consisted of a constant barrage of zany, free-for-all jokes sandwiched in between something resembling a plot, A Night at the Opera was calculated comedy. Producer Irving Thalberg insisted on a strong story structure, making the Brothers more sympathetic characters, interweaving their comedy with romantic plots and non-comic spectacular musical numbers. The targets of their mischief were largely confined to clear villains. Thalberg's logic was that the Marxes could get "twice the box office with half the laughs", believing their films would attract a wider audience.[14] Groucho himself agreed with Thalberg's rationale. In his autobiography, Groucho and Me, he wrote of the Marx Brothers' 13 films, "Two were far above average. Some of the others were pretty good. Some were deplorable. The best two were made by Thalberg"—a reference not only to A Night at the Opera but A Day at the Races.[15]
Another idea of Thalberg's was that before filming would commence on an upcoming picture, the Marx Brothers would try out its material on the vaudeville stage, working on comic timing and learning what earned a laugh and what did not. He was keen to plant gags accordingly so the laughs could be timed correctly.[14] Interestingly enough, the famous "stateroom" scene was nearly eliminated because it was not getting any laughs. One evening the Marx Brothers threw away the script and ad-libbed the whole thing. As a result, a weak scene was transformed into one of their all-time classics.
In A Night at the Opera, the Brothers' characters were refined. Groucho made more sense, and less trouble. Chico gained intelligence, and Harpo regressed into more of a child. The film dives straight into a plot and accompanying comedy, with every scene having a clear beginning, middle, and end. The end consisted of a grand finale in traditional MGM musical fashion, something lacking from the Brothers' Paramount efforts.[14]
A Night at the Opera established a formula that would be used for every subsequent film the Marx Brothers made at MGM:
a friendship existing between the romantic couple and Chico
establishing sympathy for Harpo
Chico and Groucho going through several verbal routines
Harpo joining as Chico's partner (or brother)
lush surroundings as a backdrop to the Brothers' lunacy
a fall from grace
a rebound on a grand scale in which everything is righted[14]
Reputation and legacy[edit]
A Night at the Opera is widely regarded as a classic and is arguably (along with Duck Soup) the Marx Brothers' most-recognized film.
Contemporary reviews were positive. Andre Sennwald of The New York Times wrote, " If "A Night at the Opera" is a trifle below their best, it is also considerably above the standard of laughter that has been our portion since they quit the screen. George S. Kaufman and Morrie Ryskind have given them a resounding slapstick to play with and they wield it with maniacal delight."[16] "The comedy material is always good and sometimes brilliant", reported Variety.[17] "This should be a laugh fest with all types of audiences", wrote Film Daily.[18] "This is a good Marx brothers film, good as any they have done", wrote John Mosher in The New Yorker. "It may not be new or surprising, but it's quick and funny."[19]
The film holds a 97% "fresh" rating at Rotten Tomatoes.[20] Internet reviews take a revisionist approach and suggest that the film is "a very funny movie slowed down by MGM's expensive production values and idiotic songs."[20] Ken Hanke calls it "hysterical, but not up to the boys’ Paramount films."[20] Mark Bourne concurs: "[The Marx Brothers] still let the air out of stuffed shirts and barbecue a few sacred cows, but something got lost in all that MGMness when the screen's ultimate anti-authoritarian team starting working the Andy Hardy side of the street."[20]
Roger Ebert admitted that, while A Night at the Opera "contains some of their best work", he "fast-forward[ed] over the sappy interludes involving Kitty Carlisle and Allan Jones."[21] Danel Griffin says: "A Night at the Opera is funny, but this is NOT the Marx Brothers, and their earlier style is so sorely missed that the film falls flat. The main problem with A Night at the Opera is the obvious lack of the Marx Brothers’ trademark anarchy. What distinguished them in their Paramount films from all other comedians was their thumb-biting indictment of society.[22]
The film is recognized by American Film Institute in these lists:
1998: AFI's 100 Years... 100 Movies – Nominated[23]
2000: AFI's 100 Years... 100 Laughs – #12[24]
2005: AFI's 100 Years... 100 Movie Quotes:
Otis B. Driftwood: "It's alright, that's in every contract. That's what they call a sanity clause."
Fiorello: "You can't fool me! There ain't no Sanity Claus."
– Nominated[25]
2006: AFI's Greatest Movie Musicals – Nominated[26]
2007: AFI's 100 Years... 100 Movies (10th Anniversary Edition) – #85[27]
In popular culture[edit]
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Stateroom scene
The Belgian singer Jacques Brel was inspired by the famous stateroom gag in the film when he wrote his song "Le Gaz" (1967) which depicts several men all crowding together in one room to meet a courtesan "for the gas."[28]
The 1st season, 23rd episode of The Bob Newhart Show titled "Bum Voyage" features an homage to the stateroom scene where Bob and a dozen cast members are crammed into Bob and Emily's stateroom with Howard Borden announcing that "The first one that makes a Marx Brothers joke gets it!"
Cyndi Lauper featured a similar overcrowded stateroom gag in her music video for the song "Girls Just Want To Have Fun".
Sting also recreated the overcrowded stateroom gag in his music video for the 1991 song "All This Time".
The Warner Bros. animated show Animaniacs also paid homage to the stateroom gag in the short "Hercule Yakko".
Though not one room, Mr. Mom also paid an homage to the stateroom gag in its finale.
In the Disney Channel series The Suite Life of Zack & Cody, a scene almost identical to the stateroom scene occurs in the Martins' closet.
An 8th-season episode of Seinfeld titled "The Pothole" features a homage to the stateroom scene in which the four main characters all cram into a small janitor's closet that Elaine is using to get Chinese food delivered; they all end up spilling out after Kramer spills ammonia.
Mystery writer Jeffrey Cohen paid tribute to the stateroom scene in his novel A Night at the Operation (2009). The book's title also parodies the name of the movie.
Sanity clause
The British punk band The Damned used Chico's quote ("There ain't no sanity clause") as a title for a 1980 single.
Detective Comics #826 pays homage to the film. In it the Joker captures Tim Drake, the third Robin, and takes him on a mad spree in a car, running over anyone they encounter over the Christmas season. When the Joker plans to kill a street Santa Claus, Robin distracts him by saying "You can't fool me. There ain't no Sanity Claus." The Joker laughs and the two get in an argument over which Marx Brothers film the gag is from, with Robin claiming it is from The Big Store. The Joker is distracted long enough for Robin to punch him out and escape. The Joker himself uses the line in The Killing Joke.
General
The British rock group Queen paid homage to this film by naming one of their most famous albums after it.
The film's script is credited as the basis for the 1992 film Brain Donors, produced by David Zucker and Jerry Zucker of Airplane! and The Naked Gun fame.
At the end of the 1990 film The Freshman, Rodolfo Lassparri is the alias used on Matthew Broderick's passport.
The German power metal band Blind Guardian paid homage to this film by naming one of their albums after it.
See also[edit]
List of United States comedy films
"Cosi cosa" composers: Bronisław Kaper and Walter Jurmann
Notes[edit]
Footnotes
Jump up ^ The nationality of the aviators is never identified. In The Annotated Marx Brothers: A Filmgoer's Guide to In-Jokes, Obscure References and Sly Details (2015, McFarland, ISBN 978-0786497058), Matthew Coniam points out that the omission seems to have been intentional, in order to avoid an obvious lampoon of the Italian fascist aviator Italo Balbo, and that in the newspaper caption that follows they are identified as the "Santopoulos Brothers", suggesting that they may be Greek. (pp. 124-125)
Citations
Jump up ^ Brown, Gene (1995). Movie Time: A Chronology of Hollywood and the Movie Industry from its Beginnings to the Present. New York: MacMillan. p. 125. ISBN 978-0-02-860429-9. The film opened at New York's famed Capitol Theatre.
^ Jump up to: a b c The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study .
Jump up ^ List of National Film Registry (1988-2003). Archived October 12, 2007, at the Wayback Machine.
^ Jump up to: a b "Analysis of ''A Night at the Opera'' by Tim Dirks at". Filmsite.org. Retrieved 2013-12-25.
Jump up ^ The Marx Bros. scrapbook – Groucho Marx, Richard J. Anobile – Google Boeken. Books.google.com. Retrieved 2013-12-25.
Jump up ^ Oscar Levant, The Unimportance of Being Oscar, Pocket Books 1969 (reprint of G.P. Putnam 1968), p. 67. ISBN 0-671-77104-3.
^ Jump up to: a b c A Night at the Opera trivia at the Internet Movie Database.
^ Jump up to: a b Monkey Business: The Lives and Legends of the Marx Brothers (Hardcover) by Simon Louvish. Thomas Dunne Books; 1st U.S. edition (2000), ISBN 0-312-25292-7.
Jump up ^ Groucho, Harpo, Chico and Sometimes Zeppo: A History of the Marx Brothers and a Satire on the Rest of the World, Joe Adamson. Simon & Schuster, Paperback (1983), ISBN 0-671-47072-8.
Jump up ^ Mitchell, Glenn (1996). The Mark Brothers Encyclopedia. London, England: BT. Batsford Ltd.
Jump up ^ Groucho and Me by Groucho Marx. ISBN 0-306-80666-5
Jump up ^ Marx, Harpo (1961). Harpo Speaks!. New York: B. Geis Associates; New York: Limelight Editions, 1985, ISBN 0-87910-036-2.
Jump up ^ "Timphus, Stefan. ''A Night At The Opera: The Hungarian Discoveries''". Marx-brothers.org. Retrieved 2013-12-25.
^ Jump up to: a b c d Stables, Kate (1992). The Marx Bros. Secaucus, New Jersey: Chartwell Books, Inc. ISBN 1-55521-793-1.
Jump up ^ Groucho and me – Groucho Marx – Google Boeken. Books.google.com. Retrieved 2013-12-25.
Jump up ^ Sennwald, Andre (December 7, 1935). "Movie Review – A Night at the Opera". The New York Times. Retrieved July 23, 2015.
Jump up ^ "A Night at the Opera". Variety. New York. December 11, 1935. p. 19.
Jump up ^ "Reviews of the New Films". Film Daily. New York. October 17, 1935. p. 4.
Jump up ^ Mosher, John (December 14, 1935). "The Current Cinema". The New Yorker. pp. 116–117.
^ Jump up to: a b c d "A Night at the Opera". Rotten Tomatoes. Archived from the original on 19 September 2008. Retrieved 2008-10-18.
Jump up ^ Ebert, Chaz (2000-07-09). "Roger Ebert's review of ''Duck Soup'' at Rogerebert.com". Rogerebert.suntimes.com. Retrieved 2013-12-25.
Jump up ^ "Danel Griffin's review of ''A Night at the Opera'' at "Film as Art"". Uashome.alaska.edu. 1935-11-15. Retrieved 2013-12-25.
Jump up ^ "AFI's 100 Years...100 Movies Nominees" (PDF). Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Laughs" (PDF). American Film Institute. Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Movie Quotes Nominees" (PDF). Retrieved 2016-07-17.
Jump up ^ "AFI's Greatest Movie Musicals Nominees" (PDF). Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Movies (10th Anniversary Edition)" (PDF). American Film Institute. Retrieved 2016-07-17.
Jump up ^ Todd, Oliver Jacques Brel: Une Vie
References[edit]
Elisabeth Buxbaum: Veronika, der Lenz ist da. Walter Jurmann – Ein Musiker zwischen den Welten und Zeiten. Mit einem Werkverzeichnis von Alexander Sieghardt. Edition Steinbauer, Wien 2006, ISBN 3-902494-18-2
External links[edit]
Wikiquote has quotations related to: A Night at the Opera (film)
Wikimedia Commons has media related to A Night at the Opera.
A Night at the Opera at the American Film Institute Catalog
Marx Brothers Night at the Opera Treasury
Marx-Brothers.org
A Night at the Opera on IMDb
A Night at the Opera at the TCM Movie Database
A Night at the Opera at AllMovie
Full description of A Night at the Opera from Filmsite.org
[show]
v
t
e
The Marx Brothers
Chico
Harpo
Groucho
Gummo
Zeppo
Films
Humor Risk (1921)
The Cocoanuts (1929)
Animal Crackers (1930)
The House That Shadows Built (1931)
Monkey Business (1931)
Horse Feathers (1932)
Duck Soup (1933)
A Night at the Opera (1935)
A Day at the Races (1937)
Room Service (1938)
At the Circus (1939)
Go West (1940)
The Big Store (1941)
A Night in Casablanca (1946)
Love Happy (1949)
The Story of Mankind (1957)
Musicals
I'll Say She Is (1924)
The Cocoanuts (1925)
Animal Crackers (1928)
Songs
"Hello, I Must Be Going"
"Hooray for Captain Spaulding"
"Lydia the Tattooed Lady"
Other appearances
Flywheel, Shyster, and Flywheel (radio, 1932 – episodes)
Blue Ribbon Town (radio, 1943–44)
"The Incredible Jewel Robbery" (TV, 1959)
Deputy Seraph (TV, 1959)
Family members
Minnie Marx
Sam Marx
Al Shean
Barbara Marx
Susan Fleming
Eden Hartford
Arthur Marx
Melinda Marx
Miriam Marx
Gregg Marx
Related articles
An Evening with Groucho
Captain Spaulding
Giraffes on Horseback Salad
Groucho Club
Groucho glasses
Hello, I Must Be Going!
Marx & Lennon
Minnie's Boys
Groucho: A Life in Revue (1986 play)
"Why a Duck?"
Book
Category
[show]
v
t
e
Films directed by Sam Wood
Double Speed (1920)
Excuse My Dust (1920)
The Dancin' Fool (1920)
Sick Abed (1920)
What's Your Hurry? (1920)
A City Sparrow (1920)
Her Beloved Villain (1920)
Her First Elopement (1920)
The Snob (1921)
The Outside Woman (1921)
The Great Moment (1921)
Under the Lash (1921)
Don't Tell Everything (1922)
Her Husband's Trademark (1922)
Her Gilded Cage (1922)
Beyond the Rocks (1922)
The Impossible Mrs. Bellew (1922)
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Beer for My Horses (film)
From Wikipedia, the free encyclopedia
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Beer for My Horses
Theatrical release poster
Directed by
Michael Salomon
Produced by
Toby Keith
Donald Zuckerman
Written by
Rodney Carrington
Toby Keith
W.T. Scrags
Starring
Toby Keith
Rodney Carrington
Willie Nelson
Ted Nugent
Barry Corbin
Claire Forlani
Curtis Armstrong
Tom Skerritt
Cinematography
Paul Elliott
Edited by
Paul Trejo
Production
company
CMT Films
Show Dog Productions
Distributed by
Roadside Attractions
Release date
August 8, 2008 (2008-08-08)
Country
United States
Language
English
Budget
$10 million
Box office
$667,000
Beer for My Horses is a 2008 American comedy film. The film stars country music entertainer Toby Keith and is based on his song by the same name. The film was co-written by Keith and Rodney Carrington (who also stars in the film) and directed by Michael Salomon, who has directed numerous music videos for Keith.
The film was shot in and around Las Vegas, New Mexico, United States and was released on August 8, 2008. It made about $667,000 in its limited box office release.[1]
Contents
[hide]
1 Plot
2 Cast
3 Box office
4 Reception
4.1 Box office
4.2 Critical reception
5 Soundtrack
6 References
7 External links
Plot[edit]
Best friends Joe Bill "Rack" Racklin (Toby Keith) and Lonnie Freeman (Rodney Carrington) are deputy sheriffs in the small town of Mangum, Oklahoma who enjoy pig hunting and drinking at the local bar the Thirsty Monkey.
After his girlfriend Cammie (Gina Gershon) leaves him when he does not make time for her due to his job and hanging out with friends, Rack finds out that his old flame Annie Streets (Claire Forlani) has returned home from Chicago to care for her sick mother. Rack, Lonnie, and their friend and fellow deputy Skunk Tarver (Ted Nugent) arrest three local criminals and a Mexican drug lord Tito Garza (Greg Serano) for stealing fertilizer that is intended to make methamphetamine. Garza is scheduled to be turned over to the FBI for federal charges when Annie mysteriously disappears after a date with Rack, who discovers that Annie has been kidnapped by Tito's older brother Manuel Garza (Carlos Sanz), who runs a large Mexican drug cartel. Manuel contacts the police and demands Manuel to be returned to him in Santa Luna, Mexico or he will kill Annie.
Despite being taken off the case by their boss Sheriff Landry (Tom Skerritt), Rack, Lonnie, and Skunk bust Tito out of his jail cell and take him to Mexico. Along the way, they approach a young hooker named Harveyetta and are helped by a group of circus entertainers led by Charlie (Willie Nelson), who gives them a jug of homemade whiskey known as "circus jolly."
Once in Mexico after dropping Harveyetta off, they engage in a gunfight with Garza's men and it is revealed that Annie's rich and powerful stepfather Buck Baker (Barry Corbin) is Garza's partner and his United Farm Enterprises is the base for the largest methamphetamine operation in Oklahoma. Baker reveals that the local district attorney Levin (Curtis Armstrong) is corrupt and that he has been giving Annie's mother "goofy juice" to make her appear to have Alzheimer's disease.
With the help of former criminal Johnny Franks who becomes undercover FBI agent Levon Spurlock, Rack kills Buck and rescues Annie. Rack, Lonnie, and Skunk turn Manuel and Tito over to the FBI in Oklahoma City and return to Mangum. There they are cheered by the local crows at the Thirsty Monkey. Landry berates them for disobeying orders but does not arrest them and everyone toasts "whiskey for my men, beer for my horses" while serving "circus jolly".
Cast[edit]
Toby Keith as Joe Bill "Rack" Racklin
Rodney Carrington as Lonnie Luther Freeman
Ted Nugent as Skunk Tarver
Barry Corbin as Buck Baker
Greg Serano as Tito Garza
Carlos Sanz as Manuel Garza
Claire Forlani as Annie Streets
Curtis Armstrong as D.A. Levin
Tom Skerritt as Sheriff Wilson Landry
Willie Nelson as Charlie
Chris Browning as Deputy Stippens
Mac Davis as Preacher
Keith Jardine as Jay Boy Simpson
Gina Gershon as Cammie
Sam Carrington as Boy on Bridge #2
David Allan Coe as Gypsy
Mel Tillis as Bob the plumber
Box office[edit]
The film made $800,000 in its limited domestic release, with a possible worldwide gross of $1,500,000.
The film is available on DVD and Blu-Ray, and has made $27.5 million in DVD sales, and $14 million in Blu-Ray, for a total of $42.5 million in home video sales.
Reception[edit]
Box office[edit]
The film was released to 450 theatres in 2008, and made $235,000 in its opening weekend, and stayed in theatres for four weeks, it made a total of $895,000.
Critical reception[edit]
The film holds a rating of 0% on Rotten Tomatoes based on 11 critics. Toby Keith was criticised for his performance, though Willie Nelson was praised.[2]
Soundtrack[edit]
Beer for My Horses
Soundtrack album by Various artists
Released
August 12, 2008 (2008-08-12)
Genre
Country, Rock
Label
Show Dog Nashville
Producer
Toby Keith, Donald Zuckerman
Professional ratings
Review scores
Source
Rating
Allmusic [3]
Track Song title Performer Writer Length
1 "Beer for My Horses" Toby Keith and Willie Nelson Keith, Scotty Emerick 3:30
2 "Off the Hillbilly Hook" Trailer Choir Butter, Big Vinny, Jewels Hanson 3:11
3 "Cat Scratch Fever" Ted Nugent Nugent 3:38
4 "La Di Da" Gina Gershon Gershon, Linda Perry 3:25
5 "Choctaw Bingo" James McMurtry McMurtry 8:45
6 "No Más Cerveza" Mac Davis Davis 3:35
7 "Stranglehold" Ted Nugent Nugent 8:23
8 "Burning Memories" Mel Tillis Tillis, Wayne Walker 3:15
9 "Song of Blue" Carter's Chord Emily Robertson 4:23
10 "Show Them to Me" Rodney Carrington Mark Gross 3:53
11 "If That Ain't Country, Part 2" David Allan Coe Coe 4:30
12 "Let's Get Trashed" Toby Keith and Mica Roberts Jessi Alexander, Jon Randall 2:52
References[edit]
Jump up ^ "Beer for my Horses". Rotten Tomatoes. Retrieved 6 July 2017.
Jump up ^ "''Beer for My Horses'' at Rotten Tomatoes". Rottentomatoes.com. Retrieved 2012-06-13.
Jump up ^ Thomas, Stephen (2008-08-12). "Beer for My Horses - Original Soundtrack : Songs, Reviews, Credits, Awards". AllMusic. Retrieved 2012-06-13.
External links[edit]
Beer for My Horses on IMDb
Beer for My Horses at CMT.com
[hide]
v
t
e
Toby Keith
Studio albums
Toby Keith
Boomtown
Blue Moon
Dream Walkin'
How Do You Like Me Now?!
Pull My Chain
Unleashed
Shock'n Y'all
Honkytonk University
White Trash with Money
Big Dog Daddy
That Don't Make Me a Bad Guy
American Ride
Bullets in the Gun
Clancy's Tavern
Hope on the Rocks
Drinks After Work
35 MPH Town
The Bus Songs
Compilation albums
Greatest Hits Volume One
20th Century Masters – The Millennium Collection: The Best of Toby Keith
Greatest Hits 2
35 Biggest Hits
Christmas albums
Christmas to Christmas
A Classic Christmas
Singles
"Should've Been a Cowboy"
"He Ain't Worth Missing"
"A Little Less Talk and a Lot More Action"
"Wish I Didn't Know Now"
"Who's That Man"
"Upstairs Downtown"
"You Ain't Much Fun"
"Big Ol' Truck"
"Does That Blue Moon Ever Shine on You"
"A Woman's Touch"
"Me Too"
"We Were in Love"
"I'm So Happy I Can't Stop Crying" (with Sting)
"Dream Walkin'"
"Double Wide Paradise"
"Getcha Some"
"How Do You Like Me Now?!"
"Country Comes to Town"
"You Shouldn't Kiss Me Like This"
"I'm Just Talkin' About Tonight"
"I Wanna Talk About Me"
"My List"
"Courtesy of the Red, White and Blue (The Angry American)"
"Who's Your Daddy?"
"Rock You Baby"
"Beer for My Horses"
"I Love This Bar"
"American Soldier"
"Whiskey Girl"
"Stays in Mexico"
"Mockingbird"
"Honkytonk U"
"As Good as I Once Was"
"Big Blue Note"
"Get Drunk and Be Somebody"
"A Little Too Late"
"Crash Here Tonight"
"High Maintenance Woman"
"Love Me If You Can"
"Get My Drink On"
"She's a Hottie"
"She Never Cried in Front of Me"
"God Love Her"
"Lost You Anyway"
"American Ride"
"Cryin' for Me (Wayman's Song)"
"Every Dog Has Its Day"
"Trailerhood"
"Bullets in the Gun"
"Somewhere Else"
"Made in America"
"Red Solo Cup"
"Beers Ago"
"I Like Girls That Drink Beer"
"Hope on the Rocks"
"Drinks After Work"
"Drunk Americans"
"35 MPH Town"
Related articles
Discography
Show Dog-Universal Music
Krystal Keith
Scotty Emerick
Toby Keith's I Love This Bar & Grill
Broken Bridges (soundtrack)
"Slave to the Habit"
Retrieved from "https://en.wikipedia.org/w/index.php?title=Beer_for_My_Horses_(film)&oldid=809628685"
Categories:
2008 films
English-language films
2000s comedy films
American comedy films
American films
Country music films
Films shot in New Mexico
Neo-Western films
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Roadside Attractions films
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This page was last edited on 10 November 2017, at 11:04.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values:
uls-settings-trigger
Language settings
0
button
true

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Beer_for_My_Horses_film rootpage-Beer_for_My_Horses_film skin-vector action-view