The plot of Duck Soup doesn’t exist in any conventional sense. The fictional country of Freedonia appoints Groucho Marx their king but that isn’t the point. Duck Soup understands that plots exist not to make sense of the ensuing antics, but only to get Groucho into the center of attention for an hour.
The title card of Indiana Jones and the Temple of Doom, blazoned in its pulpy font across the opening dance act of shimmering waists at club Obi Wan, was the moment a great movie became a brand. That’s not necessarily a bad thing. After all, Indy’s adventures were born as serials, each entry a new exotic locale, another damsel, another sidekick, a new hellish fortress to conquer with a whip-cracking grin.
In Spade we find the perennial dark hero, the guy with toughness stitching up all the broken promises and empty bottles. Here’s the lusty dame with her own agenda. Here’s the story-less plot of dialogic violence. A villain like a plaster figure of deadly sins. A night capped by the hardest goodbye of the movies.