Marx is the best asset, the highlight of the show, we know it, they knew it, hence the celebration of his talent.
Wood feels more like directing some sketch show. There is a lot of empathy visible in the hard work that goes in, on creating the various sketchy scenarios. But when it comes to stage a musical- exception being the piano sequence played around a bunch of kids. But I’d argue that even in that scene, the depth comes from the comic timing that displays this two sides of the characters subsequently- or relevantly moisturize the film with emotional drama, the director, Sam Wood feels like he is leaving those patches out to dry. With gags aplenty, even he knew that this is his strength and he should focus on it- the transaction to what is in paper and then what comes on screen, is sheer brilliance.
And I think that is the only thing that holds up with time. For almost a century later, the jokes are tend to not age well and feel a bit overridden by now. But once again, I’d say it is the confidence. Take the scene where they are literally trying to manipulate a man on convincing that he is in the wrong hotel room. The choreography is so smooth and polished with actors performing tasks quickly and with a hilarious body language, that you are left in awe.
Now as much as easy this was easy on paper, it was incredibly difficult to pull off. And as much as I loved and adored that scene. I would go back one act more to define A Night At The Opera. The obvious infamous scene where the physical comedy is practically turned to 11. His small hotel room gets crowded scene by scene and all the actors performing their bits with commitment, no matter whether they are part of the action or not, proves the most difficult task of an actor i.e. to make the audience laugh.