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Duck Soup (1933)

A review by Patrick McCray.
Copyright © Movie Reviews UK 1997
If the Marx Brothers are considered to form their own sub-genre of comedy, then Duck Soup is the absolute definition of their art. So often in Hollywood, quirky, offbeat performers eventually earn so much money with low-budget projects that the studios offer them enormous budgets to make even bigger pictures. The standard logic suggests that, if they made this much money with a budget of this size, imagine how much they could rake in if we give them a budget that's twice as big. This mentality usually leads to bloated, self- indulgent flops. Hollywood's bankbook is littered with the red ink covered titles, like The Blues Brothers, Big Top Pee-Wee and 1941. Bigger isn't always better.

Except in some cases. The Marx Brothers were quintessential absurdists, turning the conventions of social protocol on ear by paying them no heed and following their madcap ideas into the realm of the insane. Half of their humour comes not from their already hilarious antics, but from the fact that seemingly sane people ludicrously continue to take them seriously, expecting normal behaviour from them. When the Marx's repeatedly deflate their unearned dignity within the conventions of polite society, we cheer them on and laugh at the embalmed representatives of proper behaviour who never quite figure out that it is them, and not the Marx's, who are out of step with reasonable conduct.

But that's standard for comedies of manners. When they were given an enormous budget for Duck Soup, the Marx's could have simply covered more material, merely used bigger sets. But they didn't. In accordance with a bigger budget, a bigger target was needed, and it's that which saves the picture. Even in the Thirties, when the film was shot, America was still stinging from the perceived inanities of World War I. It was a controversial war in the States. There were numerous alliances and much sabre-rattling, making it hard to tell good from bad. In fact, to this day, Americans still debate the validity of their allegiances. After the War, Americans experienced a strong anti-European prejudice, viewing the European powers as petty tyrants who quarrelled, feuded, and spilt blood over matters of bruised pride and ancient rivalries.

Combine that with the rise of Absurdism brought on in response to the unsuccessful "war to end all wars" and you have a backdrop for Duck Soup. Seen this way, the film is a ringing anti-war statement. The Marx's take aim at petty dictators and deceitful ambassadors, showing them to be as full of the same stiff-necked nonsense as the high society-types who are usually in their satirical cross hairs. The motives and methods of war are shown up for all of their true ridiculousness, while the everyday machinations of government are given a stern slap on the rump for good measure.

As an absurdist essay on politics and warfare, Duck Soup can stand along side (or even above!) the works of Beckett and Ionesco. The epic scale is what makes it so amazing. Because, unlike Beckett or Ionesco, the Marx's don't have any pretensions about being arty and incomprehensible. They're out to make fun of numb-skulls and have a good time. Therefore, when you combine the Marx's penchant for anarchy with the gigantic subject matter, you get some riotous and sneakily thoughtful cinema. In fact, the lunacy and wit are on such a sweepingly watchable scale that it is probably more effective than anything by Beckett or Ionesco.

Beyond any of the political import is the fact that this is a very funny movie. The film can be watched on the merit of its humour and be appreciated as the landmark comedy it is. The influence of the Marx's is legendary, and there's no better place to get a serving of them than in Duck Soup.

Patrick McCray.
VNDP20D@prodigy.com

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