Directed by Sam Wood, Edmund Goulding.

A Night at the Opera is the fourth studio album by the British rock band Queen, released on 21 November 1975 by EMI Records in the United Kingdom and by Elektra Records in the United States. The story was good, but the comedy was hilarious. Still hilarious, featuring the usual hectoring of the long suffering, but still dignified Margaret Dumont, the popping of the pompous Gottlieb (Sig Ruman) and the final comeuppance of the snooty Lassparri (Walter Wolf). To ensure that transformative tradition carries over to future generations, they've resorted to the most extreme measures—epic narrative concept albums, encyclopedic cover-song selections, relentless touring, 9,000-word essays on The Replacements. The jokes remain topical and timeless and are executed with a deftness encompassing all the showbiz smaltz you could hope for. Indeed, a song like "Son and Daughter" is like the lovechild of Black Sabbath and Ziggy Stardust, taking the most potent attributes of both, and refusing to tone down anything in favor of a harmonious mix. piece of psychedelia that sounds unlike anything else in Queen's catalog-- and is yet another reminder of the power in the band's democratic songwriting ethos.

Genre: Hard Rock. "Ha! The brothers get mixed up with an opera company and a divo and diva in love - Allan Jones and Kitty Carlisle, and trying to get the two to perform together. I've always loved this movie and after listening to Leonard Maltin's commentary on the DVD last night, I now understand a little more why I think it's one the best comedies EVER made. Nothing more to add here except when watching the DVD, I highly recommend the Leonard Maltin commentary that accompanies this one as he provides great info throughout the picture including the missing opening sequence now considered lost. First off, the band had mastered the recording studio. Pitchfork is the most trusted voice in music. The pieces of comic business were worked out through many live theater performances before the scenes were finally filmed. This film is hilarity defined. Queen formed in late 1970, when Mercury (late of art school) joined up with May and Taylor (late of the Cream-ish band Smile). No band in the past decade has worked harder to reassert the notion that rock ‘n’ roll is capital-I Important than Titus Andronicus. Their actions include some on stage antics during the stage debut , as they arrange for the normal tenor to be absent so that the young lover named Ricardo can get his chance . The music is pretty good too. It deals with a sly business manager named Otis B. Driftwood (Groucho Marx) and two (Chico Marx as Fiorello and Harpo Marx as Tomasso) wacky friends of two (Kitty Carlisle as Rosa and Allan Jones as Ricardo) opera singers help them achieve success while humiliating their stuffy and snobbish enemies . two young lovers to flourish in love and in the opera world, preferably in a different order. I always worry I'll start to memorize too many of the lines and won't laugh as much next time, but there are always too many great quotes and I still enjoy the film with each viewing. Although most people prefer "Duck Soup" to this film, "A Night at the Opera" is the funniest in my opinion. Deacon joined the following year, and the newly dubbed Queen played shows, rehearsed, and recorded their self-titled debut. It is certainly my favorite. him, May, and Taylor). On a more personal note, I have heard statements that the humor doesn't transcend generations, and that is comepletely false.

Dizzying, overstuffed, and unflinching, Queen II is a die-hard fan favorite, and arguably the band's most underrated record. There's comedy, there's music, there's musical numbers, there's action, there's drama, there's romance, there's even fake beards and "Take me out the Ballgame" performed in an opera house "by accident" of course. Taken as a whole, S+@dium Rock ultimately feels less like a document of an historic homecoming event and more like the sort of bonus material that comprises the extra disc of a deluxe reissue. It also brings forth their most popular comic foil of all, Margaret Dumont, from their Broadway to Paramount days, and the return to a formula story and time out for musical interludes either by the brothers or the romantic lovers originally done in their initial films of THE COCOANUTS (1929) and ANIMAL CRACKERS (1930). I have all their movies on DVD plus another collection of just documentaries, interviews, TV appearances, a TV pilot Chico did (pretty dreadful but important historic document), episodes of "You Bet Your Life", private Marx Brothers' home movies, etc. Yet the fun hardly stopped there: "Death on Two Legs (Dedicated to...)" was a heavy, hilarious kiss-off from Mercury to their former manager; "Lazing on a Sunday Afternoon" and "Seaside Rendezvous" were further entries into the band's vaudeville-rock canon; "You're My Best Friend" was Deacon's first big hit for Queen, while Taylor's "I'm in Love With My Car" was another good, slyly funny rocker. One of the scenes -- in the crowded stateroom -- may be the single funniest of the many Marx Brothers hilarious routines. I was introduced to them when I was 8 or 9 and it was through just one movie, Go West. Even down to its Marx Brothers-derived title, the album doesn't retain the same quantum-leap progression from its predecessor as the ones had before.

Beyond the lamentable lack of covers and guest appearances (one-night-only elements that would greatly enhance the sense of occasion), this set sacrifices Titus’ most crucial quality: their sense of carefully plotted momentum, which has always made navigating their sprawling albums feel less like a slog and more like riding an expertly engineered rollercoaster. It's so good that not even the obligatory romantic couple can ruin it. But if S+@dium Rock’s intent is simply to strip away TMLT’s imposing conceptual framework and present Titus as a populist party band, then mission accomplished. Mercury-penned songs like "Great King Rat" and "My Fairy King" offered ample evidence where Queen's more precocious interests lie, though even then, the songs rocked way harder than their titles let on. Alas,* S+@dium Rock: Five Nights at the Opera* harbors no such aspirations. The Marx Brothers were set adrift by Paramount in 1933 after making arguably their best satiric comedy DUCK SOUP. Fucking Queen. "Duck Soup" is up there as one of their best, but for me, "A Night At The Opera" will always be number one. Taylor's "Drowse" is a hazily burnt (dare I say "chill"?) This craftsmanship never shows, but it pays off completely. In this film the laughs built more and more until the climactic ending, providing to be the funniest in film history.

Ironically the most memorable film about opera ever made!

The Marx Brothers are the funniest people who ever lived. For a movie that is 70-plus years old with camera work that is badly dated, "A Night at the Opera" continues to deserve its place on the list of comedy classics. No doubt that "A Night at the Opera" is right up there with "Duck Soup" as the best Marx Brothers movie.

Love to hate prime 1970s hard rock with arena sheen? Although Allen Jones and Kitty Carlisle are really a cut above most of the cute, cuddly distractions. I won't give away any of the film's humor, but see it for sure. But A Night at the Opera all but obliterates the anarchic part of the Marx Brothers' routine and turns them into completely unconvincing do-gooders. I have and shall continue to watch them over and over. Perhaps unsurprisingly, 1976's A Day at the Races feels a bit retread. Part of this was due to diving with abandon into recording experimentation, particularly the elaborate vocal and guitar overdubs that would soon become the band's trademarks. Still, bang for the buck has always been one of Queen's strong points: Jump in, be prepared for anything, and most of all, check your modesty at the door. Rather, the album is essentially a single-platter sampler of highlights from The Most Lamentable Tragedy, a record so dense, it features an actual intermission. "Nevermore" is a piano and vocal ballad that nicely introduces the album's central epic (and direct "Bohemian Rhapsody" precursor) "The March of the Black Queen". Actually, preferably one without the other. Produced by Roy Thomas Baker and Queen, it was reportedly the most expensive album ever recorded at the time of its release. Indeed "The Millionaire Waltz" borrows liberally from "Bohemian Rhapsody"; classical piano playing, massive vocal overdubs, and a big rock breakdown-- but without much of the surprise or humor. And they were just getting started. To share just one example, when Groucho's looking out of the ship's porthole, trying to pull Harpo in as he's hanging from a rope, he says, "You're alright, but the boat's too far away!" Rather, the album is essentially a single-platter sampler of highlights from The Most Lamentable Tragedy , … This is true, but "A Night at the Opera" was made through MGM, where as "Monkey Business" was created at Paramount, I believe. This is probably the best Marx Brothers film. Groucho comes up with the most hilarious and unpredictable things to say, as does Chico. I wasn't overly impressed by Duck Soup, but I did laugh a bit and found it refreshingly anarchic.

What does this say here, this thing here?" The brothers destroy pomposity and pretension by the ton.

All of the Marx Bros. movies are worth a look but my other favorite is "Duck Soup". He figures opera is the best way and gets involved with Chico, Harpo and rising opera singers Rosa Castaldi (Kitty Carlisle) and Ricardo Baroni (Allan Jones). That just says, uh, if any of the parties participating in this contract are not in their right mind, the entire agreement is automatically nullified."

And the music. One thing that strikes me about it is it's not only funny, but FUN! I must admit that I am very light in personal knowledge of MArx Brothers films,and aside from the general information,imagery and quotes(the majority of which came from the irrepressible Groucho)that have been used and attributed in Western culture over the last seventy or eighty odd years,I have a very scant referential knowledge of their legendary body of film work. When the Marxes are involved, there is more to it than that.

To overlook these gems is to err and slight the subtle art of physical comedy. Ten of S+@dium Rock’s 11 tracks are taken from that record, or constitute variations thereof; the exception is album outtake “69 Stones,” a weight-bearing drifter’s lament that—true to the band’s penchant for rock-referential puns—also happens to resemble the sort of country-honked serenade that’d be right at home on Let It Bleed. There ain't no Sanity Clause!". You can't fool me. May wrote most of the music for the album's "Side White": the stately (if modest by Queen standards) guitar prelude "Procession" leads directly into the still-statelier would-be rock anthem "Father to Son". Many people consider this to be the 2nd greatest, but I say this was the best. What a relief to momentarily escape these truly desperate times. Each time, I laugh like it was the first time. Like the Beatles, Queen capitalized on major group synergy, and as a result, forged a career that was as varied and resourceful as any act in rock. A Night at the Opera is comedy that still hits about as out of the park as imaginable as a true entertainment vehicle. But by revealing the seams of its selective setlist, S+@dium Rock also oddly emphasizes what we missed.