Dogs at the Opera (2023)

“Samson” is a sort of “Robin Hood” for the stray mongrels who live in New York. Running a clever pincer movement with his co-conspirators “Silver”, “Goliath” and the nimble “Thimble”, they usually manage to provoke the local butcher into chasing the wrong mutt whilst the others raid his supply of sausages. Later, they divide the spoils amongst the needy, whilst always alert for the “Dark Officer” who will take them to the pound. It’s whilst escaping from this dastardly nemesis that “Samson” finds himself drawn to the sounds of the opera house where he encounters the highly strung poodle “Margot”. Now she just happens to be the prize possession of the prima ballerina and also charged with guarding a tiara that reputedly once belonged to England’s Queen Elizabeth. The two don’t exactly hit it off, and it is during their spatting that the thing gets pinched! Now, despite her obvious disdain for her ruffian friend, they must combine their efforts to find out who stole it, why they stole it and most importantly, how do they get it back before act IV of Carmen takes to the stage! What now ensues has a bit of “Lady and the Tramp” (1955) to it and it moves along quite entertainingly for just over an hour of dog-loving frolics; wobbling vases; an early introduction to indoor plumbing, some professional rivalries and three nasty British bulldogs who don’t mess around with their menacing teeth. No, it’s not especially original nor is the artwork anything new either, but there’s plenty going on for most of our time racing up and down a wide and leafy Broadway when it was still only a route for horse and cart and the occasional trolley bus. There are a few fun pigeons involved too, and though I know I shall never recall it, I did quite enjoy the friendliness of it all.