on a ship was recycled from Monkey Business. As Groucho's and Margaret Dumont's characters are boarding the ocean liner, Dumont asks Groucho, "Are you sure you have everything, Otis?"; Groucho replies, "I've never had any complaints yet." In two different interviews with Dick Cavett on The Dick Cavett Show – Comic Legends DVD, Groucho claimed that that exchange of dialogue was banned in a majority of states when the film was released because it was too suggestive, although the number of states varied with different versions of the story. Hungarian rediscovery In 2008, a film student reported that the Hungarian National Film Archive possesses a longer print of the film. While the print does not contain the opening musical number, it does contain several excised lines referencing Italy that had been cut sometime after the film's original release. With the opening number still missing, it may be that this scene was cut before the subsequent edits were made. However, the discovery of the Hungarian print has not yet been independently verified, and Turner Entertainment, who owns the rights to the film, has not indicated that any restoration is forthcoming. Hidden material In the scene where the three stowaways are impersonating "the three greatest aviators in the world", Driftwood seems to talk gibberish with the dignitaries. Actually it is English; if played backwards, it can be heard what they are saying ("This man is accusing you of being impostors", etc.). It was recorded normally, then reversed and dubbed over the scene in post-production. Musical numbers "Alone" (Nacio Herb Brown and Arthur Freed) "Santa Lucia" "Garibaldi Hymn" "All I Do Is Dream of You" "Cosi-Cosa" (Bronisław Kaper and Walter Jurmann) "Take Me Out to the Ballgame" "Stridono lassù" (from I Pagliacci) Prelude to Il trovatore "Anvil Chorus" (from Il trovatore) "Stride la vampa" (from Il trovatore) "Di quella pira" (from Il trovatore) "Miserere", (From Il trovatore) Style change A Night at the Opera began a new era for the Marx Brothers' style of comedy. Whereas their previous comedies at Paramount Pictures consisted of a constant barrage of jokes within a loosely plotted storyline, A Night at the Opera was calculated comedy. Producer Irving Thalberg insisted on a strong story structure, making the Brothers more sympathetic characters, interweaving their comedy with romantic plots and non-comic spectacular musical numbers. The targets of their mischief were largely confined to clear villains. Thalberg's logic was that