MisterWhiplash This was the second Marx brothers film and still on the cusp of when sound was being implemented in cinematic technique. So of course it's a little "creaky" or "stagey", as this was originally a musical for the stage and the technology didn't allow for much in the way of innovation. And yet it speaks to how fabulously insane the Marx's were that they make as good an argument for sound being introduced to the movies as any other.It's got a threadbare plot, as might be expected - Captain Spaulding comes in from being away in Africa to Margaret Dumont's mansion, and a "Professor" (good ol' Harpo) and Signor Ravelli (Chico) follow along, and there's a missing/stolen painting plot point - but who needs a plot with these guys? The joy is seeing what Spaulding will say to Dumont next, or how quickly Harpo will chase after the woman and then get into a rather bizarre series of card-shuffling (or not shuffling really), or how Chico can twist words and meaning around through his interactions. Zeppo is... also there too! I think that you either tap into this old-school madness or you don't. I feel sorry for those who don't but can sort of understand how some of this may seem uh 'dated' or even borderline "un-PC" (there may be some jokes at the expense of girls getting hit, but it's from Harpo so I find myself laughing anyway, I mean, look at the guy!) Not every moment is always sparking on comedic cylinders, and there's one point where the movie kind of stops for a romantic song (though it is genuinely, sweetly romantic) and Harpo playing the, well, the harp (is that where he gets the name?!)And of course there's Groucho throwing insult after insult in such a flow that it comes close to something like poetry or iambic pentameter for comic insults (peppered with an occasionally 4th wall break so that we know what's what). But all of the gags work off each other since there's dialog zingers, visual gags, and timing from the 'straight' players that makes it all come flying. So I can't fault it from being "dated" because, for me, this can never truly be dated so long as irrational behavior by the likes of these self-knowing, practically post-modern clowns hits hard.

LeonLouisRicci When Discussing a Marx Brothers Film it is Obligatory to Condescend to the Extraneous Musical Numbers (those without the Brothers) and the Plot. In this, the Second Marx Feature and the Second Filmed Stage Play, the Plot is Heavily Intrusive and the Music is Forgettable at Best.The Marx Brothers, perhaps more than Any other Comedy Team, seem to Contrast greatly with the "Filler" of Burdensome Baggage because Their Zany Anarchy is so Wildly Untamed and Ill Fitting to the Society Surrounding Them. It is a Catastrophic Collision. When Groucho, Chico, and Harpo are doing Their Thing it Commands attention and admiration. The Timing is Pure Punctuated Pandemonium and the Appearance of the Odd Looking Brothers demands Comment just because of the How Strange They Look. They are like Another Species Invading Our World."Sometimes" Zeppo is On Hand in this one as is Fan and Groucho Favorite Margaret Dumont. The "Straights" are Lillian Roth and Louis Sorin. The Camera is "Still" in the Motionless Mode of 1930, however the Sound has Improved since "Coconuts" (1929). Overall, it is Better than Their Deut but Not as Good as what was to come as the Marx Brothers Continued to Improve, Peaking with either "Duck Soup" (1933) or "A Night at the Opera" (1935) depending on Who is Doing the Talking. You can bet it won't be Harpo.

TheLittleSongbird While straightforward in its story structure, Animal Crackers is nothing less than a sheer delight. Some of the early sound recording may feel static, but with such hilarity and entertainment on show, you forget about any minor flaws Animal Crackers might have. The film does look good, the cinematography is nice and the sets are good. The film skips by, while the script is witty and sharp with some hilarious lines such "Did somebody call me schnorrer"(one of my favourite ever entrances in a Marx film) and the sight gags are clever and brilliantly timed, the part when Groucho shoots an elephant in his pyjamas is just hysterical. The direction and acting are top notch once again, Groucho is just great fun here, and Margaret Dumont matches him perfectly. Overall, a sheer delight, not the Marx Brothers very best(Duck Soup in my opinion with A Night at the Opera a close second) but it is my top 10 of Marx Brothers flicks. 9/10 Bethany Cox

wes-connors Returning from expedition in Africa, wise-cracking Groucho Marx (as Captain Spaulding) is the guest of honor at the Long Island estate of matronly Margaret Dumont (as Mrs. Rittenhouse). Musicians hired for the occasion are Chico Marx (as Signor Emanuel Ravelli) and Harpo Marx (as The Professor). Brother Zeppo takes a letter (as Horatio Jamison). Butler Robert Greig still has hives. The plot involves the stolen painting "After the Hunt". This is where Groucho shot an elephant in his pajamas."Animal Crackers" is a mostly perfect representation of their stage success, overcoming the technological problems which hampered "The Coconuts" (1929). The sometimes dismissed plot and romance pace the film beautifully, and the music is perfect; note how well "Why Am I So Romantic?" sets the stage for the harp interlude. The Kaufman-Ryskind script and the Marx Brothers' finely-tuned delivery breathed life into talking pictures even as Harpo said nothing and the film went out of circulation for decades.********** Animal Crackers (8/20/30) Victor Heerman ~ Groucho Marx, Harpo Marx, Chico Marx, Margaret Dumont