A Night At The Opera Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

In Milan, Otis B. Driftwood (Groucho), business manager for wealthy dowager Mrs. Claypool (Margaret Dumont), has stood her up and is having dinner with another woman in the very same restaurant. When she discovers him seated directly behind her, Driftwood joins Mrs. Claypool, and introduces her to Herman Gottlieb (Sig Ruman), director of the New York Opera Company, also dining at the restaurant. Driftwood has arranged for Mrs. Claypool to invest $200,000 in the opera company, allowing Gottlieb to engage Rodolfo Lassparri (Walter Woolf King), the "greatest tenor since Caruso".

Backstage at the opera house, chorister Ricardo Baroni (Allan Jones) hires his best friend Fiorello (Chico) to be his manager. Ricardo is in love with the soprano, Rosa Castaldi (Kitty Carlisle), who is also being courted by Lassparri. Driftwood arrives and finds Lassparri attacking Tomasso, his dresser (Harpo), who knocks Lassparri unconscious by hitting him over the head with a mallet. Fiorello appears and identifies himself as the manager of the "greatest tenor in the world". Driftwood, mistakenly thinking Fiorello is referring to Lassparri, signs Baroni to a contract.

Driftwood, Mrs. Claypool, Rosa, Lassparri and Gottlieb all set sail for New York aboard an ocean liner. After bidding farewell to Rosa at the pier, Ricardo, Fiorello, and Tomasso stow away inside Driftwood's steamer trunk. After being discovered, Driftwood tries to get the three of them to leave, as he is expecting a rendezvous with Mrs. Claypool. Fiorello refuses to go until they've eaten, and eventually Driftwood's tiny stateroom is crowded with an assortment of people. (see Stateroom scene below)

Later, Lassparri spots the three stowaways among the immigrants on the ship, and they are caught and thrown into the brig. They escape with help from Driftwood and are able to sneak into the country by assuming the identities of three famous bearded aviators, who are traveling aboard the ship. After a welcoming reception in New York, the stowaways' true identities are discovered and they hide out in Driftwood's hotel room, pursued by police sergeant Henderson (Robert Emmett O'Connor).

Meanwhile, Ricardo is reunited with Rosa after climbing in the window of her hotel room. Ricardo has an altercation with Lassparri, which results in both Rosa and Driftwood being fired from the opera company by Gottlieb. The boys decide to seek revenge by sabotaging the opening night performance of Il trovatore ending with the abduction of Lassparri, forcing Gottlieb to substitute Ricardo and Rosa in his place. The audience clearly prefers Baroni over Lassparri and the latter is booed and hit with an apple after he attempts to return to the stage. The film ends with Driftwood and Fiorello attempting to negotiate another contract, as Rosa and Ricardo sing an encore.

Stateroom scene

This scene, one of the most famous and funniest comedy scenes of all time, was written primarily by legendary gag man Al Boasberg. Famously eccentric, Boasberg typed up the finished scene, then tore the pages into tiny pieces and tacked them to his ceiling. It took Irving Thalberg and the brothers hours to cut and paste the scene back together.

Driftwood plans a rendezvous with Mrs. Claypool in his stateroom. Then he finds out how small it is (a third class cabin, about the size of a janitor's closet), and that he, his steamer trunk, and the bed barely fit in it. Driftwood discovers that Fiorello, Tomasso, and Ricardo have stowed away in his steamer trunk and discarded his clothes. Fiorello insists on eating ("We getta food or we don't go"). Driftwood calls a steward ("I say, Stew") and orders dinner.

Driftwood: And two medium-boiled eggs.
Fiorello: (inside room): And two hard-boiled eggs.
Driftwood: And two hard-boiled eggs.
Tomasso: (inside room): (honk)
Driftwood: Make that three hard boiled eggs.

This continues until Fiorello and Tomasso each have ordered about a dozen hard-boiled eggs and Driftwood has ordered about everything else—including coffee to sober up some stewed prunes. This is just a set-up for the famous "Stateroom Scene", in which a total of 15 people crowd into Driftwood's tiny cabin.

Fiorello and Tomasso have to hide out in the room while a parade of people walk in, asking to either use the cabin, or to perform their regular duties. Crammed into this little space at the end of the scene are Driftwood, Fiorello, Tomasso, Baroni, two cleaning ladies who make up the bed, a manicurist, a ship's engineer and his fat assistant, a girl passenger looking for her aunt, a maid (Maid: "I come to mop up." Driftwood: "You'll have to start on the ceiling.") and four waiters with trays of food (prompting Driftwood's classic line: "Is it my imagination, or is it getting crowded in here?"). All of the foregoing tumble out into the hallway when Mrs. Claypool opens the door.

Contract scene

The contract scene between Driftwood and Fiorello ("the party of the first part ..."):

Fiorello: Hey, wait, wait. What does this say here, this thing here?
Driftwood: Oh, that? Oh, that's the usual clause that's in every contract. That just says, uh, it says, uh, if any of the parties participating in this contract are shown not to be in their right mind, the entire agreement is automatically nullified.
Fiorello: Well, I don't know...
Driftwood: It's all right. That's, that's in every contract. That's, that's what they call a sanity clause.
Fiorello: Ha-ha-ha-ha-ha! You can't fool me. There ain't no Sanity Clause!

In an interview with Richard J. Anobile in The Marx Brothers Scrapbook, Groucho said he was so appalled by an early draft of the script—which was reportedly written by Bert Kalmar and Harry Ruby—that he screamed, "Why fuck around with second-rate talent, get Kaufman and Ryskind !"

At the suggestion of producer Irving Thalberg, the film marked a change of direction in the brothers' career. In their Paramount films, the brothers' characters were much more anarchic: they attacked anybody who was so unfortunate to cross their paths whether they deserved it or not, albeit comically. Thalberg, however, felt that this made the brothers unsympathetic, particularly to female filmgoers. So in the MGM films, the brothers were recast as more helpful characters, saving their comic attacks for the villains.

Though some Marx Brothers fans were appalled at these changes, Thalberg was vindicated when the film became a solid hit. It helped that the film contained some of what fans consider to be the brothers' funniest routines. These routines were honed on stage, as the brothers performed the new material on the road before filming began.

However, according to Oscar Levant, the first preview was a "disaster", with "hardly a l