Por Conta do Bonifácio

I consider this the last Marx Brothers film worth seeing, though it is inferior to all their previous films. While you'll get a few laughs in their efforts following ROOM SERVICE, they are definitely a step below their earlier efforts.

The film was an adaptation of a stage production and it's obvious because most all the action takes place in one hotel room. As a result, there's a definite feeling of claustrophobia in the picture and it also prevents the film from rising to a higher level of entertainment.

About the only real WONDERFUL moment in the film is the very end, where one of the characters appears to come back to life--it's well worth seeing.

The movie manages a few chuckles, but is not prime material for Marx Bros. fans. One reason is that there's too much conventional logic in what the boys do, unlike their usual wacky comedic logic. Thus, there's little of the usual anarchic assault on well-ordered society that provides larger point to their madcap style.

Here the boys are trying to beat the hotel out of a big bill in order to get their stage play produced, and what they do makes perfectly good sense, though done in zany style. I get the feeling that, unlike other Marx movies, any number of good comedic actors could have replaced them to decent effect. Also, journeyman director Seiter fails to bring the zaniness to the kind of madcap boil that marks their best features. For example, the comedy mix tends to keep the boys apart instead of effectively combining them.

Nonetheless, the movie has its moments and some good gag lines, along with lively humorous support— MacBride as the dyspeptic hotel manager, Wood as the string bean agent, and Albertson as the boyish playwrite. Unfortunately, Lucille Ball's expert comedic talent goes untapped, but thankfully not her good looks.

Looks like the boys miss their home at MGM where their best movies were made. But even second-rate Marx Bros. at RKO still manages some good laughs.

Many criticize "Room Service" as the worst Marx Brothers film. This is both misleading and ridiculous. While "Duck Soup" now receives the most critical acclaim, one need only compare that film to Room Serivce to see a dramatic improvement in the directing and delivery. Room Service wasn't written explicitly for the Marx Brothers, so it doesn't have catchy lines. Still, the film flows much better than predecessors and is still pretty damn funny. The Marx Brothers made many great movies, and yes, this is one of those great ones!

The Marx Brothers did a film in the late 1930s that brought them back to their roots. Its one of the few films from the late period of the Marx Brothers that I really enjoyed. The reason I love this film compared to others is it isn't a showcase for one person to show off their singing. Groucho Marx is witty as usual in the role of Gordon Miller. Another reason I love this movie is that it returns to the type of gags the Marx Brothers were good at during the Paramount years. Lucille Ball of I Love Lucy plays a straight character in this film. Room Service(1938) is an under rated comedy that isn't as popular as some other movies by the Marx Brothers. Harper Marx does some funny things as Faker Englund. The Swing Low, Sweet Chariot number in the end is my favorite moment of Room Service(1938).

30 years ago today, Groucho Marx died at 86, three days after Elvis Presley. For the occasion, I'd thought I'd view some of his movies of which Room Service is one of them. Unlike the others he made with his brothers, this one wasn't especially tailored to their talents since it was originally a Broadway play starring other people. So the action is mostly confined to the hotel and the pace slows down a little bit. Nevertheless, there's still some witty lines and visual humor concerning Harpo that makes this one of the more enjoyable latter day-Marx Brothers films. And there's a wonderful supporting cast with Frank Albertson as the playwright and, especially, Donald MacBride as the hotel manager who keeps exclaiming, "Jumping Butterballs!" Also of note is the fact that a couple of young players named Ann Miller and Lucille Ball appear here long before their established personas. So while not the classic of their five Paramount and first two MGM pictures, this RKO production was nothing the Marx Brothers should be ashamed of.