Hollywood's golden year of 1939 found the Marx Brothers At the Circus, up to their usual mischief if not their usual standards. It's a lesser effort but still a rollicking good time, casting Groucho, Chico, and Harpo as the would-be saviors of a financially troubled circus. Of course, Groucho gets the lion's share of zingers as crackpot lawyer J. Cheever Loophole (especially when sparring with his quintessential straight-lady, Margaret Dumont), and Irving Brecher's zippy dialogue (with a last-minute polish by Ben Hecht) is custom fit to the Marxes' vaudeville roots. This was the Marxes' third movie for MGM, and the studio's insistence on sappy romantic subplots and a wimpy romantic lead (Kenny Baker) occasionally stalls the manic momentum. Fortunately there's ample compensation, including Groucho's signature performance of "Lydia, the Tattooed Lady," penned by Wizard of Oz songwriters Harold Arlen and Yip Harburg. Despite the racial stereotypes that populate Harpo's jazzy interlude, At the Circus is a three-ring showcase of fun. -Jeff Shannon.

A Night in Casablanca may not qualify as a Marx Brothers classic, but it's certainly the best of their latter-day comedies. "This picture is funnier than all but a handful of their earlier ones," wrote the usually cantankerous Pauline Kael, and she's right. The Big Store would have been the final Marx movie, but that disappointment, and an attractive new deal with United Artists, prompted the Marx trio to bring freshly anarchic energy to this post-war spoof of wartime intrigue, prompting Warner Bros. (producers of Casablanca) to threaten legal action over the title, to which Groucho responded, "I am sure that the average movie fan could learn in time to distinguish between Ingrid Bergman and Harpo. " As it happens, Night bears only passing resemblance to the Bergman/Bogart classic, with Groucho playing the new manager of a hotel in Casablanca, where several previous managers have been murdered while a scheming villain (Marx regular Sig Rumann) plots to steal the hotel's cache of Nazi treasure. Chico and Harpo are up to their usual antics (including piano and harp interludes, respectively), and they all give Rumann the runaround in the film's funniest and most perfectly choreographed scene. The brothers made their final film together with Love Happy three years later, but as any fan will tell you, A Night in Casablanca was the last Marx comedy that mattered. -Jeff Shannon.

If you had a baking soda-powered Seaview submarine when you were a kid, then you're probably a fan of Voyage to the Bottom of the Sea, either the movie or the TV show, where that high-tech sub originated. And therefore you're probably a fan of that show's creator, producer-director Irwin Allen, the subject of this documentary. Allen is probably best known for starting the disaster film craze in the '70s with hit movies like The Poseidon Adventure and The Towering Inferno, where he earned the title of "Master of Disaster. " But perhaps he's best loved for the string of TV series he made in the '60s: Voyage to the Bottom of the Sea, Lost in Space, The Time Tunnel, and the bizarre Land of the Giants. The documentary glosses over Allen's film career, rightly spending more time on the TV shows, revealing Allen's penchant for monster costumes and using stock footage. We find out that Allen often filmed some sequences for black-and-white shows in color so he could use them later as stock footage. Also, when he needed to shoot a sequence that was supposed to be inside a whale, he saved a fortune by using leftover sets from Fantastic Voyage. The format of the documentary is corny, hosted by Bill Mumy and June Lockhart, along with "The Robot," all from Lost in Space, all hamming it up. But there is such a wealth of behind-the-scenes footage that any fan of Allen's TV shows will want to own this disc. Especially noteworthy is a bonus 55-minute featurette of series proposals, including lengthy footage of two shows that didn't make it, City Beneath the Sea and The Man from the 25th Century. [+]

From Robert Weide, the filmmaker of "W. C. Fields Straight Up", comes THE MARX BROTHERS IN A NUTSHELL, a fascinating look at the most beloved comedy team in motion picture history. Exclusive interviews with those closest to the brothers supplement this collection of highlights from their film, theater, and television appearances and offer a compelling look at their lives both on and off-screen. The generous use of rare and unreleased film and TV clips provides new insights for even the well-versed Marx Brothers fax. This definitive documentary begins its study with the Marx family vaudeville act and follows through to their final television work; including clips from Groucho's popular TV show "You Bet Your Life. " Fellow comedians and collaborators including Woody Allen, Dick Cavett, George Fennemann, Robert Klein, and David Steinberg examine the hard work and perfectionism that put these comic masters at the top of their game. Using rarely-seen footage derived from their original Broadway hit "I'll Say She Is", and highlights from their best film, home movies and newsreels, this film enlightens as it entertains. A tribute to Hollywood's funniest brothers, THE MARX BROTHERS IN A NUTSHELL is an invaluable resource for anyone interested in these remarkable forerunners of modern screen comedy.

As those who are old enough to have lived through the Great Depression disappear, the era seems more and more remote; it's nearly impossible for later generations to understand just how desperate things were in the United States in the 1930s. Brother, Can You Spare a Dime? captures not only the history but also the culture of the time in a rather unusual documentary format. Totally without the benefit of narration, the movie mixes newsreel footage with clips from Hollywood films to tell the story, from the stock market crash through Pearl Harbor. Movie-minded viewers will easily recognize footage from They Made Me a Criminal, Public Enemy, Golddiggers of 1933, Employee's Entrance, Little Caesar, Lady Killer, I Was a Fugitive from a Chain Gang, and countless other Hollywood films from the time-some classics, some more obscure. The scope of the film covers not only historical landmarks such as the Dust Bowl, FDR's election, and the New Deal, but dance marathons and the Louis-Schmeling heavyweight fight for a comprehensive look at the country's social climate. The formula works well, for the most part; especially before the imposition of the Hays Code chilled Hollywood's tone, the '30s saw the birth of the "social consciousness" picture that dealt with topical issues in straightforward ways. Brother only falls down when it attempts to wrap up the film by bringing it up to the present time (1975, anyway); its ending seems superfluous, tacked-on. Still, for history buffs and movie fans alike, this is an interesting account of a pivotal decade in American history. -Jerry Renshaw The chronicle of an unforgettable piece of American history-twelve crazy, painful see-saw years, from the Wall Street crash to Pearl Harbor. By juxtaposing contemporary news and documentary footage with extracts from Hollywood classics such as "Golddiggers," "Lady Killer" and "Wild Boys of the Road," director Philippe Mora offers an immediate, intricate and evocative scrapbook of the 1930s.

A roguishly clever and energetic documentary about the exploits of the Marx boys, this is as humorous and irreverent as the comedians' distinctive brand of humor. Directors David Leaf and John Scheinfeld accomplished the nearly impossible: they produced a fast and funny documentary as enjoyable as any piece of fiction. Though it runs for over two hours, this is so full of factual detail and amusing rumor about the exploits of the Marx boys that it could easily have gone on another 30 minutes. Its one flaw is the disappearance of the minor Marx brothers about halfway through, and the lack of information regarding the last days of all involved. -Rochelle O'Gorman.

As those who are old enough to have lived through the Great Depression disappear, the era seems more and more remote; it's nearly impossible for later generations to understand just how desperate things were in the United States in the 1930s. Brother, Can You Spare a Dime? captures not only the history but also the culture of the time in a rather unusual documentary format. Totally without the benefit of narration, the movie mixes newsreel footage with clips from Hollywood films to tell the story, from the stock market crash through Pearl Harbor. Movie-minded viewers will easily recognize footage from They Made Me a Criminal, Public Enemy, Golddiggers of 1933, Employee's Entrance, Little Caesar, Lady Killer, I Was a Fugitive from a Chain Gang, and countless other Hollywood films from the time-some classics, some more obscure. The scope of the film covers not only historical landmarks such as the Dust Bowl, FDR's election, and the New Deal, but dance marathons and the Louis-Schmeling heavyweight fight for a comprehensive look at the country's social climate. The formula works well, for the most part; especially before the imposition of the Hays Code chilled Hollywood's tone, the '30s saw the birth of the "social consciousness" picture that dealt with topical issues in straightforward ways. Brother only falls down when it attempts to wrap up the film by bringing it up to the present time (1975, anyway); its ending seems superfluous, tacked-on. Still, for history buffs and movie fans alike, this is an interesting account of a pivotal decade in American history. -Jerry Renshaw.