It is often said that The Cocoanuts was the first Marx Brothers film. This isn't completely true, as the foursome had made a silent film, Humor Risk, back in 1921. That film never made it past the first preview, was never released, and has since unfortunately been lost.

That makes The Cocoanuts the earliest surviving Marx Brothers film, as well as their first 'talky'. The arrival of sound may have driven directors and cinematographers of the day to madness, but it was a boon for the Marx Brothers. They were already mad, and now their zany, rapid-fire dialogue could be preserved on celluloid.

"The Cocoanuts" was originally a successful Broadway production, written by one of America's most foremost playwrights, George S. Kaufman. It also had songs by the most successful composer of the first half of the century, Irving Berlin, whose "White Christmas" would become the yuletide standard.

Cinematography was crippled in the early sound era. Microphones had to be carefully placed, with the camera and actors drawn to them like moths to a flame. The Cocoanuts became a smash not only because it was funny, but because it was essentially a filmed performance of their hit Broadway play. The camera was no more static than were the patrons in their seats.

Since most people could not travel to New York to see the Marx Brothers, the movies brought the Marx Brothers to them. The Cocoanuts introduced their characters, which never changed from one film to the next. Groucho was the star with the best lines, which were typically stinging put downs. Chico played dumb and got to show of his prowess on the piano. Harpo made faces, chased girls, and bored audiences with his requisite harp solo. All three were anarchists, but always took the time to unite deserving young lovers.

The young lovers generally changed from film to film, and despite their attractive faces and unusually clear singing voices, they existed only to provide a vague motive for the Marx Brothers' mischief. The one guest player who would return again and again was Margaret Dumont, whose wealthy dowager character was shamelessly and cynically romanced by Groucho Marx. Dumont was such a good foil for Groucho that she became a greater fixture than the fourth Marx Brother, Zeppo. Zeppo was gracious but he wasn't funny, and he left the movies to become an agent once the Marxists changed studios from Paramount to MGM.

The Cocoanuts bewilders contemporary audiences with its lack of continuity. A fleet of young lovely bellhop ladies have a production number that comes from nowhere, and they then vanish for the remainder of the film. Characters begin singing at the oddest times, and not frequently enough for the film to be truly considered a musical. Some of the Marx Brothers' lines are inaudible.

While these 'problems' may confound perfectionists, they do little harm to the film, because it is the spirit that matter. The Marx Brothers were all about chaos, and structure wasn't always to their advantage. When the detective parodies Carmen with his demand for his stolen shirt, it is completely out of character. But absolutely no one cares, because it is hilarious, and that is film's real purpose.

One game that Marx Brothers fans will always play, with no real conclusion, is "What Is Their Best Film?" My vote is for A Night at the Opera (1935), The Cocoanuts (1929), Duck Soup (1933), and A Day at the Races (1937) in that order, although Horse Feathers may fall in there somewhere since I haven't seen all of that film yet. The obvious missing film is Animal Crackers (1930), which for some reason hasn't registered with me as much as the aforementioned films.

One characteristic that Marx Brothers films often have is that they end abruptly. In a tip of the hat for their hard work, I will do the same with this review. (70/100)

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Recommended:
Yes

Viewing Format: VHS
Video Occasion: Fit for Friday Evening
Suitability For Children: Suitable for Children up Ages 8