|Directed by||Leo McCarey|
|Produced by||Herman J. Mankiewicz (uncredited)|
|Edited by||LeRoy Stone (uncredited)|
|Distributed by||Paramount Pictures|
Duck Soup is a 1933 pre-Code comedy film written by Bert Kalmar and Harry Ruby, with additional dialogue by Arthur Sheekman and Nat Perrin, directed by Leo McCarey. Released theatrically by Paramount Pictures on November 17, 1933, it starred the Marx Brothers (Groucho, Harpo, Chico, and Zeppo) and also featured Margaret Dumont, Louis Calhern, Raquel Torres and Edgar Kennedy. It was the last Marx Brothers film to feature Zeppo and the last of five Marx Brothers movies released by Paramount Pictures.Groucho plays the newly installed president of the mythical country of Freedonia, and Zeppo is his secretary, while Harpo and Chico are spies for the rival country of Sylvania. Relations between Groucho and the Sylvanian ambassador deteriorate during the film, and they go to war at the conclusion.
Compared to the Marx Brothers' previous films, Duck Soup was a box office disappointment,though not entirely a "flop" as is sometimes reported. The film opened to mixed reviews, although this by itself did not end the group's association with Paramount. Bitter contract disputes, including a threatened boycott by the Marxes soured their negotiations with Paramount just as Duck Soup went into production. After the film fulfilled their five-picture obligation to the studio, the Marxes and Paramount agreed to part ways.
While contemporaneous critics of Duck Soup felt it did not quite meet the standards of its predecessors, critical opinion has evolved and the film has since achieved the status of a classic.Duck Soup is now widely considered among many critics to be a masterpiece of comedy as well as the Marx Brothers' finest film.
In 1990, the United States Library of Congress deemed Duck Soup "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry.
The wealthy Mrs. Teasdale insists that Rufus T. Firefly be appointed leader of the small, bankrupt country of Freedonia before she will continue to provide much-needed financial aid. Meanwhile, neighboring Sylvania is attempting to annex the country. Sylvanian ambassador Trentino tries to foment a revolution and to woo Mrs. Teasdale, and he tries to dig up dirt on Firefly by sending in spies Chicolini and Pinky.
After failing to collect useful information against Firefly, Chicolini and Pinky are able to infiltrate the government when Chicolini is appointed Secretary of War after Firefly sees him selling peanuts outside his window. Meanwhile, Firefly's secretary, Bob Roland, suspects Trentino's motives, and he advises Firefly to get rid of Trentino by insulting him. Firefly agrees to the plan, but after a series of personal insults exchanged between Firefly and Trentino, the plan backfires when Firefly slaps Trentino instead of being slapped by him. As a result, the two countries come to the brink of war. Adding to the international friction is the fact that Firefly is also courting Mrs. Teasdale, and, like Trentino, hoping to get his hands on her late husband's wealth.
Trentino learns from another spy, Vera Marcal that Freedonia's plans of war are in Mrs. Teasdale's safe and tells her to assist Chicolini and Pinky in stealing them. Chicolini is caught by Firefly and put on trial, during which war is officially declared, and everyone is overcome by war frenzy, breaking into song and dance. Chicolini and Pinky join Firefly and Bob Roland in anarchic battle, resulting in general mayhem.
After a fierce battle, the end of the film finds Trentino caught in a makeshift pillory, with the Brothers pelting him with fruit. Trentino surrenders, but Firefly tells him to wait until they run out of fruit. Mrs. Teasdale begins singing the Freedonia national anthem in her operatic voice and the Brothers begin hurling fruit at her instead.
Comparing the original scripts with the finished film, most of the characters' initial scripted names were later changed. Only the names of Chicolini and Mrs. Teasdale were kept. Groucho's character—originally named "Rufus T. Firestone"—eventually became Rufus T. Firefly, while the name of Harpo's character—named Pinky in the final product—was given in the Paramount pressbook as "Brownie"."Ambassador Frankenstein of Amnesia" was quickly changed to Ambassador Trentino of Sylvania. Zeppo's character remained Firefly's son until very late in production, finally becoming Bob Roland, his secretary; also, Mrs Teasdale's niece "June Parker" transformed into Vera Marcal, first introduced as Trentino's "niece" before ultimately becoming his companion.
The Marx Brothers' previous film, Horse Feathers , had been Paramount's highest-grossing film of 1932. Encouraged by this success, the studio suggested on August 2, 1932, that they rush out a follow-up. Already at this early stage, the story (provisionally entitled Oo La La)was set in a mythical kingdom. On August 11, 1932, the Los Angeles Times reported that production would commence in five weeks with the famed Ernst Lubitsch directing.
This was a turbulent time in the Marx Brothers' career. Paramount Pictures was flirting with bankruptcy and a reorganization of the studio brought fears that money due the Marxes would never be paid; as a result, the Brothers threatened to leave Paramount and form their own company, Marx Bros., Inc.Their first planned independent production was a film adaptation of the Pulitzer Prize-winning Broadway musical Of Thee I Sing , with Norman McLeod leaving Paramount to direct. During late 1932 and early 1933, Groucho and Chico were also working on Flywheel, Shyster, and Flywheel , a radio show written by Nat Perrin and Arthur Sheekman; there was even, at one time, talk of casting the two as their radio characters for the new film (an idea that was eventually used by Perrin in the 1941 Marx Brothers film The Big Store ).
By October 4, 1932, Arthur Sheekman, Harry Ruby, and Bert Kalmar began writing the screenplay for the next Paramount film, which was now called Firecrackers.Herman Mankiewicz was to supervise production, beginning in January 1933. By December 1932, Firecrackers had become Cracked Ice. Grover Jones was also reported to have contributed to the first draft by Ruby and Kalmar. In The Marx Brothers Encyclopedia, Glenn Mitchell says that "the first script's content is difficult to determine".
On January 18, 1933, Harry Ruby, Bert Kalmar and Grover Jones submitted to Paramount their "Second Temporary Script" for Cracked Ice,and Paramount announced that shooting would commence on February 15. This script shows that the basic plot of Duck Soup was in place. In February, Paramount announced that the title had been changed to Grasshoppers ("because animal stories are so popular"), and that filming was set back to February 20.
However, on May 11, 1933, the Marx Brothers' father Sam "Frenchie" Marx died in Los Angeles, 's script was completed by July 11. The script was a continuation of Ruby and Kalmar's Firecrackers/Cracked Ice drafts, but contained more elements. Many of the film's clever gags and routines were lifted from Flywheel, Shyster, and Flywheel, giving Perrin and Sheekman an "additional dialogue" credit.and shortly afterward the contract dispute with Paramount was settled. The New York Post reported on May 17 that the Brothers would make a new comedy for Paramount, called Duck Soup. Leo McCarey was set for direction of the film. Three days later The New York Sun reported that Duck Soup would start filming in June. Duck Soup
Director McCarey reportedly came up with the title for the film, having previously used it for an earlier directorial effort with Laurel and Hardy.This continued the "animal" titles of the Brothers' previous three films, Animal Crackers , Monkey Business and Horse Feathers .
"Duck soup" was American English slang at that time; it meant something easy to do. Conversely, "to duck something" meant to avoid it. When Groucho was asked for an explanation of the title, he quipped, "Take two turkeys, one goose, four cabbages, but no duck, and mix them together. After one taste, you'll duck soup for the rest of your life."
McCarey also thought up "the very Laurel & Hardy-like sequence in which Harpo and Chico stage a break-in at Mrs Teasdale's house."Another McCarey contribution was the famous "mirror scene", a revival of an old Marx Brothers vaudeville act.
In the "mirror scene", Pinky, dressed as Firefly, pretends to be Firefly's reflection in a missing mirror, matching his every move—including absurd ones that begin out of sight—to near perfection. In one particularly surreal moment, the two men swap positions, introducing the question of which is the reflection. Eventually, and to their misfortune, Chicolini, also disguised as Firefly, enters the frame and collides with both of them.
Although its appearance in Duck Soup is the best known instance, the concept of the mirror scene did not originate in this film. Harold Lloyd used essentially the same routine in his short The Marathon (1919). Max Linder included it in Seven Years Bad Luck (1921), where a man's servants have accidentally broken a mirror and attempt to hide the fact by imitating his actions in the mirror's frame.Charlie Chaplin used a similar joke in The Floorwalker (1916), though it did not involve a mirror.
This scene has been imitated many times; for instance, in the Bugs Bunny cartoon Hare Tonic ,the Mickey Mouse cartoon Lonesome Ghosts , The Square Peg (1959), The Pink Panther (1963), the Tom and Jerry cartoon Cat and Dupli-cat (1967), Big Business (1988), and X-Files episode "Dreamland" (1998). Harpo himself did a reprise of this scene, dressed in his usual costume, with Lucille Ball also donning the fright wig and trench coat, in the I Love Lucy episode "Lucy and Harpo Marx".
The climactic production number ridicules war by comparing nationalism to a minstrel show. One segment is a variant on the old Negro spiritual "All God's Chillun Got Wings" (and was reportedly considered for deletion for the film's DVD release, for fear of offending African Americans):
They got guns,
We got guns,
All God's chillun got guns!
I'm gonna walk all over the battlefield,
'Cause all God's chillun got guns!
Another repeated gag involved Harpo, who drives a motorcycle with a sidecar, as a chauffeur, to transport Groucho. Twice, after Groucho gives the orders to Harpo, Harpo rides his motorcycle away, leaving Groucho stranded in the sidecar. Later, Groucho has Harpo sit in the sidecar, while Groucho gets on the motorcycle, the sidecar, with Harpo in it, rides off away, again, leaving Groucho stranded.
Shortly after, during the final battle scenes, "rightfully [...] called the funniest of all of cinema",Firefly can be seen wearing a different costume in almost every sequence until the end of the film, including American Civil War uniforms (first Union and then Confederate), a British palace guard uniform, a Boy Scout Scoutmaster's uniform, and even a Davy Crockett coonskin cap. Meanwhile, the exterior view of the building they are occupying changes appearance from a bunker to an old fort, etc. Firefly assures his generals that he has "a man out combing the countryside for volunteers." Sure enough, Pinky is wandering out on the front lines wearing a sandwich board sign reading, "Join the Army and see the Navy." Later, Chicolini volunteers Pinky to carry a message through enemy lines; Firefly tells him, "[...] and remember, while you're out there risking life and limb through shot and shell, we'll be in here thinking what a sucker you are." Thomas Doherty has described this line as "sum[ming] up the Great War cynicism towards all things patriotic".
The melodramatic exclamation "This means war!" certainly did not originate with Duck Soup, but it is used several times in the film—at least twice by Trentino and once by Firefly—and was repeated by Groucho in A Night at the Opera and A Day at the Races . Variations of this phrase later became a frequently used catch-phrase for Daffy Duck and Bugs Bunny in Warner Bros. cartoons.
In another scene, the film pokes fun at the Hays Code. Due to the code, a man and woman could not be shown in bed together. The camera begins the scene in a woman's bedroom, panning across the foot of the bed. A pair of men's shoes are shown on the floor, then a pair of women's shoes and then four horseshoes. The camera cuts to a shot of the entire room: Pinky is sleeping in one bed with the horse, while the woman is in another bed.
The film's writers recycled a joke used in Horse Feathers in this dialogue with Chico:
Prosecutor: Chicolini, isn't it true you sold Freedonia's secret war code and plans?
Chicolini: Sure! I sold a code and two pairs o' plans!
The street vendor confrontations are also well-remembered pieces of physical comedy:Chico and Harpo harass a lemonade seller (comedy film veteran Edgar Kennedy), egged on by his irritation that they have stolen his pitch.
First, there is a scene involving the knocking off, dropping, picking up and exchanging of hats. Later, Kennedy (a much larger man) steals bags of Harpo's peanuts, and Harpo responds by burning Kennedy's new straw boater hat; in return, Kennedy pushes over their peanut wagon. Harpo responds by stepping knee-deep into Kennedy's lemonade tank, where he imitates a stereotypical Italian grape-crushing peasant; this drives off Kennedy's waiting line of customers.
Just before the Mirror Scene is the Radio Scene. Harpo tries the combination to the safe on a box which proves to be a radio, and it starts blaring the break-up strain of John Philip Sousa's "Stars and Stripes Forever". The music continues despite frantic efforts to silence, and finally destroy, the radio, by throwing it out the window, shattering the glass.
Harpo often doffed his hat on-screen, but Chico very rarely removed his Tyrolean hat, even when indoors. For a few seconds on-screen in the earlier scene, Chico's head is uncovered, revealing a wavy wig. Chico had already started going bald when the brothers appeared in their first Broadway production, I'll Say She Is , in 1924. All of the Brothers' natural receding-hairline patterns were similar, but Harpo and Chico covered theirs with wigs (Groucho later sported an obvious toupee in the films At The Circus and Go West ).
Breaking with their usual pattern, neither Harpo's harp nor Chico's piano is used in the film, although Harpo briefly pretends to play harp on the strings of a piano, strumming chords in accompaniment to a duck-shaped music box that is playing.
The musical introduction to Groucho's character is similar to those in Animal Crackers and Horse Feathers but it did not become closely associated with him as did "Hooray for Captain Spaulding" from Animal Crackers.
Zeppo, as usual, plays, according to James Agee, "a peerlessly cheesy improvement on the traditional straight man",in his final on-screen appearance with his Brothers. He sings with the group (including soloing the first few lines of the first song, "When the Clock on the Wall Strikes 10"). He also sings with the others in "Freedonia's Going to War", filling out the four-cornered symmetry as the Brothers sing and dance in pairs during the number.
The "Freedonia National Anthem" is used frequently throughout the film, both as vocal and instrumental; the entire song seems to consist of "Hail, Hail, Freedonia, land of the brave and free", contrasting with the final line of The Star-Spangled Banner . The "Sylvania theme", which sounds vaguely like "Rule, Britannia!", is also used several times. "When The Clock On The Wall Strikes 10", the first musical number in the film, is part of the same scene as "Just Wait 'Til I Get Through With It",Groucho's song about the laws of his administration. "This Country's Going To War" is the final musical ensemble in the film. Technically it is the only musical number in the Marx Brothers' films to feature all four of the brothers. However, in Monkey Business , Chico briefly bangs on the piano while the other three play saxophones while eluding their pursuers on an ocean liner.
The introductory scene, showing ducks swimming in a kettle and quacking merrily, is scored with an instrumental medley of the aforementioned songs, and it is also the only scene in the film that has to do with ducks and soup.
Duck Soup was not a box office failure. Although it did not do as well as Horse Feathers, it was the sixth-highest-grossing film of 1933, according to Glenn Mitchell in The Marx Brothers Encyclopedia and Simon Louvish in Monkey Business, his biography of the Marx Brothers.However the film was a box office disappointment for Paramount.
One possible reason for the film's lukewarm reception is that it was released during the Great Depression. Audiences were taken aback by such preposterous political disregard, buffoonery, and cynicism at a time of economic and political crisis.Film scholar Leonard Maltin had this to say in his book The Great Movie Comedians:
As wonderful as Monkey Business , Horse Feathers , and Duck Soup seem today, some critics and moviegoers found them unpleasant and longed for the more orderly world of The Cocoanuts with its musical banalities. [...] Many right-thinkers laughed themselves silly in 1933—but a large number didn't. [...] The unrelieved assault of Marxian comedy was simply too much for some people.
Years later, Groucho's son Arthur Marx described Irving Thalberg's assessment of the film's purported failure during a National Public Radio interview:
[Thalberg] said the trouble with Duck Soup is you've got funny gags in it, but there's no story and there's nothing to root for. You can't root for the Marx Brothers because they're a bunch of zany kooks. [Thalberg] says, "You gotta put a love story in your movie so there'll be something to root for, and you have to help the lovers get together."
Most critics at the time disliked it because of its "dated" look at politics.Some modern critics are also unimpressed. Christopher Null believes, "the send-up of Mussolini-types doesn't quite pan out. Take the comedy, leave the story."
Even Groucho himself did not initially think too highly of the film. When asked the significance of the film's politics, Groucho only shrugged and said: "What significance? We were just four Jews trying to get a laugh."Nevertheless, the Brothers were ecstatic when Benito Mussolini took the film as a personal insult and banned it in Italy. Also, the residents of Fredonia, New York, protested because they feared that the similar-sounding nation would hurt their city's reputation. The Marx Brothers took the opposite approach, telling them to change the name of their town to keep from hurting their movie.
Despite the tepid critical response at the time, Duck Soup is now seen as a classic political farce.Film critic Danel Griffin believes that Duck Soup is "on par with other war comedies like Chaplin's The Great Dictator and Kubrick's Dr. Strangelove , only slightly more unnerving in that Duck Soup doesn't seem to realize it is anything more than innocent fluff." Fellow film critic Roger Ebert believed, "The Marx Brothers created a body of work in which individual films are like slices from the whole, but Duck Soup is probably the best." British film critic Barry Norman was slightly cautious about the Marx Brothers overall, but considered Duck Soup their best and included it in his 100 best films of the 20th century.
Revived interest in the film (and other 1930s comedies in general) during the 1960s was seen as dovetailing with the rebellious side of American culture in that decade.American literary critic Harold Bloom considers the end of Duck Soup one of the greatest works of American art produced in the 20th century.
In 1990, Duck Soup was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".In 2000, readers of Total Film magazine voted Duck Soup the 29th greatest comedy film of all time. On Rotten Tomatoes, the film has a 91% "Certified Fresh" rating based on 53 reviews, with an average rating of 9.1/10. The site' consensus reads, "Fueled by inspired silliness and blessed with some of the Marx brothers' most brilliant work, Duck Soup is one of its – or any – era's finest comedies". It is also one of the earliest films to appear on Roger Ebert's list of The Great Movies .
The film is recognized by American Film Institute in these lists:
The United States Library of Congress has added Duck Soup to the National Film Registry,and the film was included in both the original (1998) broadcast of AFI's 100 Years... 100 Movies and the 2007 update.
Another testament to Duck Soup's legacy is its influence on Woody Allen films. Near the end of Allen's Hannah and Her Sisters (1986), a chance screening of Duck Soup convinces Allen's character that life is still worth living, and he abandons his suicidal impulses. His earlier Bananas (1971), a film chronicling the humorous rise of an unlikely dictator, has been dubbed a "spiritual sequel to Duck Soup."
Duck Soup is also frequently cited as a major influence of the comedic side of The Beatles,and The Beatles themselves admitted that it was an inspiration for their film Help!
This Marx Brothers' production had influence as well on the world of animation, with homages to the film appearing in various animated television series. It was spoofed in Animaniacs as the full-episode sketch "King Yakko". One specific gag from the original, the constant singing of the Freedonian national anthem, was spoofed in particular with a Perry Como caricature. Groucho's entrance in the film was borrowed in another Animaniacs cartoon, "The Three Muska-Warners".
The film also inspired parts of Sacha Baron Cohen's film The Dictator (2012).A critic for The A.V. Club noted that "Admiral General Aladeen and Rufus T. Firefly share the same bloodline, representing a more generalized contempt for world leaders of any stripe, whether they don a 'supreme beard' or a greasepaint moustache." The Nashville Scene detected "an echo here of that funniest of xenophobe-baiting funnies, Duck Soup." The Rolling Stone claimed that Baron Cohen's film "dodges soothing convention and ultimately merits comparisons to The Marx Brothers' Duck Soup and Charlie Chaplin's The Great Dictator.
The company FASA, which publishes role-playing games, derives its name from an imaginary Freedonian version of NASA, the "Freedonian Aeronautics and Space Administration".
Universal Home Video released Duck Soup on DVD, unrestored but uncut, as part of a six-disc box set The Marx Brothers: Silver Screen Collection, which includes also the Brothers' other Paramount films, The Cocoanuts , Animal Crackers , Monkey Business , and Horse Feathers .Reviewing the set, film critic Mark Bourne writes:
Shortly before this DVD set hit the streets, a pre-release report by nationally syndicated entertainment columnist Marilyn Beck stated that "racially-offensive material" would be edited from this edition of Duck Soup. Specifically, material "that has been deplored and debated in the 'We're Going to War' production number." Beck didn't say what the exact cut was, or who's doing all that deploring and debating, though presumably she meant the "All God's Chillun Got Guns" section. The possibility of new contextually obtuse editing is bad enough. What made her column even more galling was the satisfied tone in her statement that such a "well-made edit makes the film a pure zany joy without an ugly blot in it to spoil the fun." It's a pleasure to report that Marilyn Beck is full of it. No such edits exist in this edition. Another potentially sensitive moment in the film — Groucho's punchline, "and that's why darkies were born", a dated reference to a popular song from the '30s — is also still intact.
I've always been on the fence about this one. In my write-up, of course, I argue that even if the Marxes didn't intend any deeper significance, one still exists that its longevity has created. And of course, it's impossible to tell when Groucho is being sarcastic and when he isn't. But that he communicated with T. S. Eliot, Antonin Artaud, Dalí, etc., all who praised the Brothers' work, means that he was at least aware of the various readings of the film, and he engaged them on some level. I suspect that his outspoken opinion of Duck Soup simply changed over time. While the Brothers were still active, they were infamously embarrassed by the Paramount films—hard to believe it, but there was a time when the Thalberg collaborations were actually considered better. Perhaps the 'four Jews trying to get a laugh' comment was a dismissive one he made towards that era in general. Towards the end of his lifetime, critics reexamined the Paramounts and embraced them, and perhaps this gave Groucho incentive to finally admit that the film indeed was an intentional, biting satire. But who knows? Part of the charm of the Marx Brothers is that it's impossible to know where they’re channeling.
Julius Henry "Groucho" Marx was an American comedian, actor, writer, stage, film, radio, and television star. He is generally considered to have been a master of quick wit and one of America's greatest comedians.
The Marx Brothers were an American family comedy act that was successful in vaudeville, on Broadway, and in motion pictures from 1905 to 1949. Five of the Marx Brothers' thirteen feature films were selected by the American Film Institute (AFI) as among the top 100 comedy films, with two of them, Duck Soup (1933) and A Night at the Opera (1935), in the top fifteen. They are widely considered by critics, scholars and fans to be among the greatest and most influential comedians of the 20th century. The brothers were included in AFI's 100 Years... 100 Stars list of the 25 greatest male stars of Classical Hollywood cinema, the only performers to be inducted collectively.
Animal Crackers is a 1930 American pre-Code Marx Brothers comedy film directed by Victor Heerman. The film stars the Marx Brothers, Groucho, Chico, Harpo, and Zeppo, with Lillian Roth and Margaret Dumont. It was based on their broadway musical of the same name, in which mayhem and zaniness ensue when a valuable painting goes missing during a party in honor of famed African explorer Captain Jeffrey T. Spaulding. A critical and commercial success upon its initial release, it was filmed at Paramount's Astoria Studios in Astoria, Queens; it was the second of two films the Brothers would make in New York City.
A Night at the Opera is a 1935 American comedy film starring the Marx Brothers, and featuring Kitty Carlisle, Allan Jones, Margaret Dumont, Sig Ruman, and Walter Woolf King. It was the first of five films the Marx Brothers made under contract for Metro-Goldwyn-Mayer after their departure from Paramount Pictures, and the first after Zeppo left the act. The film was written by George S. Kaufman and Morrie Ryskind from a story by James Kevin McGuinness, with additional uncredited dialogue by Al Boasberg. The film was directed by Sam Wood.
Arthur "Harpo" Marx was an American comedian, actor, mime artist, and musician, and the second-oldest of the Marx Brothers. In contrast to the mainly verbal comedy of his brothers Groucho Marx and Chico Marx, Harpo's comic style was visual, being an example of both clown and pantomime traditions. He wore a curly reddish blond wig and was silent in all his movie appearances, instead blowing a horn or whistling to communicate. Marx frequently employed props such as a horn cane constructed from a lead pipe, tape, and a bulbhorn.
Leonard Joseph "Chico" Marx was an American comedian, musician, and actor. He was the oldest brother and a member of the Marx Brothers. His persona in the act was that of a charming, uneducated but crafty con artist, seemingly of rural Italian origin, who wore shabby clothes and sported a curly-haired wig and Tyrolean hat. On screen, Chico is often in alliance with Harpo, usually as partners in crime, and is also frequently seen trying to con or outfox Groucho. Leonard was the oldest of the Marx Brothers to live past early childhood. In addition to his work as a performer, he played an important role in the management and development of the act in its early years.
Freedonia, Fredonia or Fredon is the name given to several fictional countries. The term Freedonia was later popularized by the 1933 Marx Brothers movie Duck Soup. Over time, however, the word has come to have a more generic meaning. It can be anything from a noun describing a plausible yet fictional country, to an adjective ("Freedonian") used to characterize a place like the Freedonia of Duck Soup. Because the Marx Brothers' Freedonia had so many qualities—autocracy, diminutiveness, and obscurity, to name but a few—a place can be described as "Freedonian" for having any one of these qualities.
Herbert Manfred "Zeppo" Marx was an American actor, comedian, theatrical agent, and engineer. He was the youngest and last survivor of the five Marx Brothers. He appeared in the first five Marx Brothers feature films, from 1929 to 1933, but then left the act to start his second career as an engineer and theatrical agent.
Margaret Dumont was an American stage and film actress. She is best remembered as the comic foil to the Marx Brothers in seven of their films. Groucho Marx called her "practically the fifth Marx brother."
A Day at the Races is a 1937 American comedy film, and the seventh film starring the Marx Brothers, with Allan Jones, Maureen O'Sullivan and Margaret Dumont. Like their previous Metro-Goldwyn-Mayer feature A Night at the Opera, this film was a major hit.
At the Circus is a 1939 comedy film starring the Marx Brothers released by Metro-Goldwyn-Mayer in which they help save a circus from bankruptcy. The film contains Groucho Marx's classic rendition of "Lydia the Tattooed Lady". The supporting cast includes Florence Rice, Kenny Baker, Margaret Dumont, and Eve Arden. The songs, including "Lydia the Tattooed Lady", "Two Blind Loves", and "Step Up and Take a Bow", were written by the team of Harold Arlen and Yip Harburg.
Horse Feathers is a 1932 pre-Code comedy film starring the Marx Brothers. It stars the Marx Brothers, Thelma Todd and David Landau. It was written by Bert Kalmar, Harry Ruby, S. J. Perelman, and Will B. Johnstone. Kalmar and Ruby also wrote the original songs for the film. Several of the film's gags were taken from the Marx Brothers' stage comedy from the 1900s, Fun in Hi Skule. The term "horse feathers" is an American euphemism for "horseshit," meaning "nonsense," originating in the late 1920s.
The Cocoanuts is a 1929 pre-Code musical comedy film starring the Marx Brothers. Produced for Paramount Pictures by Walter Wanger, who is not credited, the film also stars Mary Eaton, Oscar Shaw, Margaret Dumont and Kay Francis. It was the first sound film to credit more than one director, and was adapted to the screen by Morrie Ryskind from the George S. Kaufman Broadway musical play. Five of the film's tunes were composed by Irving Berlin, including "When My Dreams Come True", sung by Oscar Shaw and Mary Eaton.
Monkey Business is a 1931 American pre-Code comedy film. It is the third of the Marx Brothers' released movies, and the first with an original screenplay rather than an adaptation of one of their Broadway shows. The film also features Thelma Todd, Harry Woods and Ruth Hall. It is directed by Norman Z. McLeod with screenplay by S. J. Perelman and Will B. Johnstone. Much of the story takes place on an ocean liner crossing the Atlantic Ocean.
Flywheel, Shyster, and Flywheel is a situation comedy radio show starring two of the Marx Brothers, Groucho and Chico, and written primarily by Nat Perrin and Arthur Sheekman. The series was originally broadcast in the United States on the National Broadcasting Company's Blue Network beginning November 28, 1932, and ended May 22, 1933. Sponsored by the Standard Oil Companies of New Jersey, Pennsylvania and Louisiana and the Colonial Beacon Oil Company, it was the Monday night installment of the Five-Star Theater, an old-time radio variety series that offered a different program each weeknight. Episodes were broadcast live from NBC's WJZ station in New York City and later from a sound stage at RKO Pictures in Los Angeles, California, before returning to WJZ for the final episodes.
I'll Say She Is (1924) is a musical comedy revue written by brothers Will B. Johnstone and Tom Johnstone (music). It was the Broadway debut of the Marx Brothers. A revival of I'll Say She Is, as "adapted and expanded" by the writer-performer Noah Diamond, was seen Off Broadway at the Connelly Theater in 2016.
Groucho: A Life in Revue is a stage play written by Groucho Marx's son Arthur Marx and Robert Fisher. With musical direction by Jim Grady. It is a look at the life and career of the famous entertainer Groucho Marx of the Marx Brothers and You Bet Your Life fame. It opened off-Broadway at the Lucille Lortel Theatre on October 8, 1986 and played 254 performances closing on May 3, 1987. It starred 23-year-old actor Frank Ferrante as Groucho Marx from age 15 to 85, Les Marsden as Harpo Marx and Chico Marx, Faith Prince as The Girls and Rusty Magee as The Citizen of Freedonia. It was directed by Arthur Marx. The play was produced by Nancy and Ronnie Horowitz.
Samuel Marx was the father of American entertainment group (the) Marx Brothers, stars of vaudeville, Broadway and film, and the husband of Minnie Marx, who served as the group's manager.
"Why a Duck?" is a comedy routine featured in the Marx Brothers movie The Cocoanuts (1929). In a scene in which Groucho and Chico are discussing a map, Groucho mentions the presence of a viaduct between the mainland and a peninsula. Chico, who is playing the role of an immigrant with poor English skills, replies "Why a duck?" This leads into a long schtick with Chico responding "Why a no chicken?", "I catch ona why a horse", and so forth.
The Cocoanuts is a musical with music and lyrics by Irving Berlin and a book by George S. Kaufman, with additional text by Morrie Ryskind.
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