|
Filmography
-
Love Happy (1949)
-
A Night in Casablanca (1946)
-
The Big Store (1941)
-
Go West (1940)
-
At the Circus (1939)
-
Room Service (1938)
-
A Day at the Races (1937)
-
A Night at the Opera (1935)
-
Horse Feathers (1932)
-
Monkey Business (1931)
-
Animal Crackers (1930)
-
The Cocoanuts (1929)
-
Classic Comedy Prevues
Biography
When the four Marx Brothers became an overnight sensation on Broadway in
I'll Say She Is in 1924, they had already spent 20 years in show
business. Their uncle, character actor Al Shean
(of Gallagher and Shean), helped them get started in the business,
spurred on by their mother Minnie. The boys toured the vaudeville
circuits, first as singers and eventually as comedians, until they
slowly improved enough to make it to Broadway. Ultimately, the Marx
Brothers revolutionized American comedy with their anarchistic,
faster-than-lightning, anything-goes approach.
By the time of their first film, The Cocoanuts,
in 1929 -- which was basically a filmed version of their second
Broadway hit -- brother Gummo (Milton Marx, 1897-1977) had retired from
the act and been replaced by the baby, Zeppo (Herbert
Marx, 1901-1979). Ultimately, Zeppo
retired from performing as well, leaving the three Marx Brothers best
known today: Chico (Leonard
Marx, 1886-1961), Harpo (Adolph
Arthur Marx, 1888-1964), and the one and only Groucho
(Julius
Henry Marx, 1890-1977). Each of these three had his own strong
screen persona: Chico
was the Italian who mangled the English language and played the piano; Harpo
never spoke, chased blondes, created general mayhem, and played the
harp; Groucho,
with his grease paint mustache and tilted walk, was a fast-talking
wisecracker often on the dubious side of the law or morality.
The brothers could be just as wild offscreen as they were on, and
tended to create chaos wherever they went. Their first five films -- The Cocoanuts;
Animal
Crackers (1930), based upon their third Broadway hit; Monkey
Business (1931); Horse
Feathers (1932); and Duck Soup
(1933) -- all for Paramount, were particularly anti-social and
anti-establishment, which made them well-suited to the mood of the
country in the early years of the Depression. By 1935, they were working
for Irving
Thalberg at MGM (thanks to Chico,
who played bridge with the producer and had worked out the deal). Thalberg
insisted on better plot structure and romantic subplots, which made the
brothers more popular in their day but, in retrospect, detracted from
the inspired anarchy of their earlier comedies. After the first two MGM
films, A
Night at the Opera (1935) and A Day at
the Races (1937), Thalberg
died, and the quality of their films began a descent from which they
never recovered, culminating in the mostly pathetic Love Happy
(1949). The Marx Brothers themselves flourished, however. Even Gummo and
Zeppo,
who had quit performing years earlier, developed financially
successful, albeit tangential, careers in show business. Chico
formed his own band in 1942, which included a very young Mel
Torme. Harpo
made numerous comedy/concert tours, including an early trip to Russia.
Numerous books have been written about the Marx Brothers' often
turbulent personal lives and their zany comedies. Their influence has
been so widespread that many Marx Brothers routines -- particularly Groucho's
-- have slipped into the American vernacular ("I shot an elephant in my
pajamas. How he got into my pajamas, I'll never know"). The character
of Hawkeye Pierce on M*A*S*H
was strongly influenced by Grouchos
screen persona, and the role of Banjo in George
S. Kaufman's The
Man Who Came to Dinner (1941) was based on Harpo. ~
All Movie Guide
|