A Night In Casablanca (United Artists) (1946)

The ‘Mad Marxes’ a Knockout In Their Current Comedy Hit ( Prepared, Review) One of the rare treats of the early 1946 cinema season was brought to town yesterday when those fabulous Marx Brothers—Groucho, Harpo and Chico—opened up at the . Theatre in their latest and funniest film travesty, “A Night in Casablanca.” It is a United Artists release. For four years, too long a time altogether, these mad Marxes have been absent from the screen, spending their time entertaining the boys in hospitals and camps here and abroad. Now, in this hilarious film produced by them in association with David L. Loew, they can again be seen in all the delightfully absurd antics that have endeared them to millions of theatre-wise fans all over the world. The story is set in the post-war atmosphere of colorful Casablanca, with a swank hotel as the center of action. The inimitable Groucho is in charge of the modus operandi, with the completely wacky assistance Mat 2G—.30 Chico, Groucho and Harpo are cutting capers again in their current laugh-riot, “A Night in Casablanca,” due at the .Theatre on.It is a David L. Loew-Marx Brothers’ production released by United Artists. of brothers Harpo and Chico. The plot, if anything so amusingly con¬ trived can be called a plot, concerns a ruthless group of Nazis masquer¬ ading as Dutch aristocrats who have smuggled the hidden European art treasures and jewels into the hotel prior to shipping them to a South American hideaway. How the Brothers Marx foil this plot is some¬ thing to make audiences roll in the proverbial aisles. Some of their gags are right out of this world. The subtle hand of Archie Mayo was at the directorial helm, and he is to be complimented for the amazingly deft manner in which he handled these zany but utterly beguiling brothers. As usual, the Marxes have surrounded themselves with a fine support¬ ing cast. Sig Ruman plays the bogus Count who uses his Nazi wiles to get rid of Groucho; Lisette Verea, a Roumanian songstress who makes her film debut in the picture, aids him as an alluring adventuress; and lovely Lois Collier and that new threat to Van Johnson, Charles Drake, add a nice note of young romance to the story. Other important roles are played by Dan Seymour and Lewis Russell. But, in the last analysis, the film belongs completely to Groucho, Harpo and Chico, and if there are three more thoroughly wacky, or three more thoroughly delightful comedians in the theatre, this reviewer has yet to discover them. For a world still groggy from the war, “A Night in Casablanca” is like a glass of bubbling champagne, guaranteed to put a sparkle in your eye and leave a laugh on your lips. / , -\ No Harem Can Scare’m Groucho “no harem can sca/re’m” Marx fluttered his agile eyebrows one day during the making of the mad Marxes' current laugh riot, “A Night in Casablanca ,” while the cream of Hollywood’s “body brigade” passed in review. Selection of twenty-eight lovelies was Groucho’s enticing chore. They can be spotted with him in the harem scenes of the film when it opens next . at the . Theatre. Harpo and Chico were barred from the judge’s stand on Groucho’s argument that they had no part in the harem sequences. “A Night in Casablanca” was produced by David L. Loew, in associa¬ tion with the Marxes. It is a United Artists release. X - d Harpo’s Chasing Blondes Again In “A Night In Casablanca” Anyone who was in the vicinity of the General Service Studios in Hollywood during the filming recently of “A Night in Casablanca,” starring those three zany Marx Brothers—Groucho, Harpo and Chico—might have heard high-pitched femi¬ nine screams emanating from the interior. We want to assure them that it did not mean that the Men from Mars had landed nor that the for¬ mula for nylons had been reported lost. The screams probably came from one of the blondes whom Harpo fiendishly pursued all during the picture. The Mad Marxes, as they are generally called in Hollywood, are back with all their well-known enthusiasm after a long absence. In collaboration with David L. Loew they produced this current comedy which has its locale in Casablanca, where anything can happen. The story involves international intrigue, a poignant love theme, stolen art treasures, and murder! The young love interest is portrayed by Lois Collier and Charles Drake. Drake has just been signed by David L. Loew to a seven year contract. Songs and glamour are provided in the person of red-haired, svelte Lisette Verea. Miss Verea, the Roumanian threat to Hollywood pulchritude, was imported from New York after Director Archie Mayo discovered her singing in a night club. Supporting roles are played by Sig Ruman, Frederick Gierman, Harro Mellor, Lewis Russell and Dan Seymour. The film, a United Artists release, opens on.at the.Theatre. Mai IF—.15 Harpo Marx up to some of his irresistible tricks in the new Marx Brothers’ hit, “A Night in Casa¬ blanca,” at the . Theatre thru United Artists release. iiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii|!!i|i!iiiiMiiiiiiiiiiiiiiiii!iimiiiiiiiiiiiiiiiiiiiiiiiiHiiiiiiiiiiiiiiiiimiiiiiiiimimin The Kite Express—A Marx Invention The fabulous Marx Brothers’ passion for madness of every description is definitely not confined to their play-acting. Their supposedly dull business life is also fraught with nuttiness. Their latest absurdity is a little gadget called the “kite express.” Simpler than a Rube Goldberg nightmare, the Marxian invention consists of a twelve- by-fifteen-inch manila envelope and a twenty-foot hunk of cord, which is an¬ chored to the second floor window of the Marxes’ office in Beverly Hills. When this envelope flutters in the breeze outside that window, any Marx— | Groucho, Harpo or Chico—in the vicinity hastens forthwith to a spot under the | window looking like nothing less than Romeo beneath the balcony of his | Juliet. Signaling his presence, he then impatiently awaits the lowering of the | envelope. | Inside, he’s likely to find important checks to sign or a packet of letters. | In any event, said Marx retires to the curb, squats down and proceeds to | take care of whatever it is. When finished, he signals secretary Rachel Linden, | who retrieves the envelope by hauling in the cord. That’s hew most of the mad | Marx Brothers’ business is conducted. | “It’s simply impossible to get them inside an office,” Miss Linden con- | fesses. “Even though it is only one flight up and there’s an elevator, they | insist on staying outside.” | The Marxes can be caught now at the.Theatre, where their latest | riot, “A Night in Casablanca,” is holding forth. The film was produced by them | in association with David L. Loew and released by United Artists. Uproarious Funmaking In New Marx Brothers' Film Among significant cinema developments of 1946 is the portentous return of the Marx Broth¬ ers—'Groucho, Harpo and Chico—to the Holly¬ wood scene with their new comedy vehicle, “A Night in Casablanca.” It has been four years since the mad Marxes performed their inimitable antics for cameras. At that time they finished their eleventh pic¬ ture, with Groucho making his oft-quoted grouse: “We’re tired of making the same story over and over again—even if it is good!” The Marxes subsequently and firmly refused all offers to work before cameras—collectively and individually. They made it clear that they would resume only when they could make pic¬ tures according to the dictates of their own experience as top entertainers for many years, and not to meet a release date. “A Night in Casablanca,” the Marxes’ uproar¬ iously funny new farce-comedy, is the answer. To make it, the Marxes associated themselves with Producer David L. Loew and arranged for a United Artists release. Then, with metic¬ ulous care, the Marxes and Producer Loew joined hands in transferring “A Night in Casa¬ blanca” from an idea into a completed picture. Rarely, if ever, has a picture been given such minute, studied attention in its preparatory stages. After virtually a year in preparation and film¬ ing, there’s no doubt at all that the Marxes have another sure-fire hit on their hands. Their story is post-war and as timely as tomorrow’s headlines. Highlighting the reunion of the Marx Brothers and films was their title contro¬ versy with the Warner Brothers over rights to the use of the title “A Night in Casa¬ blanca.” Warners contended that it infringed on their Academy Award picture en¬ titled “Casablanca.” But Producer Loew, holding that no company had exclusive rights to a geographical name, militantly pursued his contention and won his point after months of controversy, thereby establishing a precedent of industry-wide importance. An excellent supporting cast, including the charming Roumanian chanteuse, Lisette Verea, Lois Collier, Charles Drake and Sig Ruman, assist the Marx Brothers in making this unusual comedy a must-see on your list when it opens on.at the.Theatre. Mat 1G—.15 Chico Marx looks like this in “A Night in Casablanca,” at the . Theatre thru United Artists release. Page Fourteen