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Online Versions of the Handouts Have Color Images & Hot Urls September
Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B. -
The Transnational Sound of Harpo Marx
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Electronic version URL: http://journals.openedition.org/miranda/36228 DOI: 10.4000/miranda.36228 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Marie Ventura, “Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http:// journals.openedition.org/miranda/36228 ; DOI: https://doi.org/10.4000/miranda.36228 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx 1 Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Introduction: a Transnational Trickster 1 In early autumn, 1933, New York critic Alexander Woollcott telephoned his friend Harpo Marx with a singular proposal. Having just learned that President Franklin Roosevelt was about to carry out his campaign promise to have the United States recognize the Soviet Union, Woollcott—a great friend and supporter of the Roosevelts, and Eleanor Roosevelt in particular—had decided “that Harpo Marx should be the first American artist to perform in Moscow after the US and the USSR become friendly nations” (Marx and Barber 297). “They’ll adore you,” Woollcott told him. “With a name like yours, how can you miss? Can’t you see the three-sheets? ‘Presenting Marx—In person’!” (Marx and Barber 297) 2 Harpo’s response, quite naturally, was a rather vehement: you’re crazy! The forty-four- year-old performer had no intention of going to Russia.1 In 1933, he was working in Hollywood as one of a family comedy team of four Marx Brothers: Chico, Harpo, Groucho, and Zeppo. -
Guide to the Harpo Marx Papers
Guide to the Harpo Marx papers NMAH.AC.1290 NMAH Staff Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Container Listing ............................................................................................................. 2 Series : Sound Recordings: Original Audio Discs, 1947, 1949, 1956...................... 2 Series : Working Box 1............................................................................................ 6 Series : Working Box 2............................................................................................ 8 Series : Working Box 3.......................................................................................... 11 Series : Working Box 4.......................................................................................... 13 Series : Working Box 5.......................................................................................... 14 Series : Working Box 6.......................................................................................... 15 Harpo Marx Papers NMAH.AC.1290 Collection Overview Repository: Archives Center, National Museum of American History Title: Harpo Marx Papers -
Not Designated for Publication
PUBLIC MATTER – NOT DESIGNATED FOR PUBLICATION Filed May 19, 2015 STATE BAR COURT OF CALIFORNIA REVIEW DEPARTMENT In the Matter of ) Case No. 12-O-10043 ) A. EDWARD EZOR, ) OPINION AND ORDER ) A Member of the State Bar, No. 50469. ) ) This case illustrates the dire consequences an attorney may face when he allows financial self-interest to override his fiduciary responsibilities to a client. A. Edward Ezor appeals a hearing judge’s decision that he be disbarred for willful misappropriation and for failing to maintain funds in trust for an elderly, disabled client. Ezor concedes he did not maintain the required balance in his client trust account (CTA), but denies he misappropriated the funds. He insists that a single accounting error caused the deficiency. The judge rejected his explanation, finding it lacked credibility and supporting proof. After independently reviewing the record (Cal. Rules of Court, rule 9.12), we also reject Ezor’s explanation and find that he intentionally and dishonestly misappropriated $37,247.22. We affirm the hearing judge’s disbarment recommendation. I. FACTUAL AND PROCEDURAL BACKGROUND1 Ezor was admitted to the State Bar in 1972, and has no record of prior discipline. His misconduct arose out of his representation of Maxine Marx, a beneficiary of the estate of her late 1 We base the factual background on a pretrial Stipulation as to Facts and Admission of Documents, trial testimony, documentary evidence, and the hearing judge’s factual findings, which are entitled to great weight. (Rules Proc. of State Bar, rule 5.155(A).) In particular, we give considerable weight to the findings based on credibility evaluations. -
Class, Language, and American Film Comedy
CLASS, LANGUAGE, AND AMERICAN FILM COMEDY CHRISTOPHER BEACH The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Christopher Beach 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Adobe Garamond 11/14 pt. System QuarkXPress [] A catalog record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Beach, Christopher. Class, language, and American film comedy / Christopher Beach. p. cm Includes bibliographical references and index. ISBN 0521 80749 2 – ISBN 0 521 00209 (pb.) 1. Comedy films – United States – History and criticism. 2. Speech and social status – United States. I. Title. PN1995.9.C55 B43 2001 791.43 617 – dc21 2001025935 ISBN 0 521 80749 2 hardback ISBN 0 521 00209 5 paperback CONTENTS Acknowledgments page vii Introduction 1 1 A Troubled Paradise: Utopia and Transgression in Comedies of the Early 1930s 17 2 Working Ladies and Forgotten Men: Class Divisions in Romantic Comedy, 1934–1937 47 3 “The Split-Pea -
The Cocoanuts the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival The Cocoanuts The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the inter- pretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, publication manager and editor; Phil Hermansen, art director. Copyright © 2016, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespearean Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Tasso Feldman (above) as Harpo (Silent Red), Jim Poulos as Chico (Willie Wony Diddydony), and John Plumpis as Mr. Hammer (Groucho) in The Cocoanuts, 2016. The Cocoanuts Contents Information on the Play About the Playwright 4 Characters 7 Synopsis 7 Scholarly Articles on the Play The Marx Brothers on Broadway 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 About the Playwright: The Cocoanuts By Rachelle Hughes Almost a century ago Pulitzer Prize-winning playwright George S. Kauffman joined his creative genius with Songwriter’s Hall of Fame composer and lyricist Irving Berlin to write the Marx Brothers’ first movie and second Broadway play, The Cocoanuts. -
A Century of the Marx Brothers Joseph Mills
T A Century of the Marx Brothers Edited by Joseph Mills C' ,p CAMBRIDGE SCI-IOLARS PUBLISHING A Century of the Marx Brothers, edited by Joseph Mills This book first pub!ished 2007 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2.JA,UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright ID 2007 by Joseph Mills and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN 1-84718-240-2;ISBN 13: 9781847182401 CHAPTER ELEVEN THE BIG GREY IR-ELEPHANT: THE PLAY OF LANGUAGE IN THE MARX BROTHERS' SCRIPTS AND IN CHARLES BERNSTEIN'S L=A N=G=U=A=G=E POETRY ZOEBRIGLEY In his collection, Poetic Justice (1979), the L=A=N=G=U=A=G=E poet, Charles Bernstein begins an untitled poem with the following lines: The elephant appears without the slightest indication that he is demanded. An infinite inappropriateness. Continually learning.' The image of the elephant appears as a surprise or as an inappropriate occurrence, and its appearance indicates that one cannot rest easy in the conventional uses of language. Rather the poet must be in a state of continual "learning" discovering how language empowers some subjects and weakens others. As Bernstein writes in his essay, "Making Words Visible": "We all see words: signs of a language we live inside of. -
FAMILY MATINEES Saturday and Sunday Afternoons
FAMILY MATINEES Saturday and Sunday afternoons DUCK SOUP Saturday, January 15, 2011 12:30 p.m. 1933, 68 min. 35mm print source: Universal Pictures. Directed by Leo McCarey. Screenplay and songs by Bert Kalmar and Harry Ruby. Produced by Herman J. Mankiewicz. Photographed by Henry Sharp. Production design by Hans Dreier and W. B. Ihnen. Edited by LeRoy Stone. Principal cast: Groucho Marx (as Rufus T. Firefly), Harpo Marx (Pinky), Chico Marx (Chicolini), Zeppo Marx (Lt. Bob Roland), Margaret Dumont (as Mrs. Gloria Teasdale), Raquel Torres (Vera Marcal), Louis Calhern (Trentino), Edmund Breese (Zander), Edgar Kennedy (street vendor). From The Marx Brothers by William Wolf, Pyramid, Satire has always been a virtually dirty word in 1975: Hollywood. Anything that smacks of intellectualism has mostly been shunned by Duck Soup , the Marx Brothers’ last film for executives who find “entertainment” a more Paramount, looms as among the most important in magical word. Therefore, one must take with a their careers. It is a pivotal picture, which reveals grain of salt the protestations that Duck Soup was the social satire of which they were capable, and meant only to be funny, and that it was merely a seeing it again raises anew the question of why this case of finding a new environment for the routines avenue of expansion was closed to them. The of the brothers, who just happened to do a comedy picture is now a special favorite of Marx that spoofs sacred cows. This is not to say that aficionados and for very good reason. It is everything film buffs now read into the film was surrealistic comedy which neatly blends barbs at planned that way. -
Guide to the Groucho Marx Collection
Guide to the Groucho Marx Collection NMAH.AC.0269 Franklin A. Robinson, Jr. and Wendy Shay 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 4 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Correspondence, 1932-1977, undated..................................................... 6 Series 2: Publications, Manuscripts, and Print Articles by Marx, 1930-1958, undated .................................................................................................................................. 8 Series 3: Scripts and Sketches, 1939-1959, undated............................................. -
Preston Sturges & the Marx Bros
Preston Sturges & The Marx Bros. by Richard von Busack “Somebody said that all I needed for success in American life was a bass voice and a muscular handshake, so I seized producers with a powerful grip, looked piercingly into their eyes and asked them in my deepest tones if they doubted for a second if I could direct. “When they said, ‘no’, and I said, “Then when do I start,’ they said, “As soon as you’ve directed for anybody else.” Such was Preston Sturges’ dilemma in the late 1930s. He was one of the best-paid writers in Hollywood, where, as the saying went, you never saw so many unhappy people earning $100,000 a year. He had worked for Goldwyn, MGM and Universal, had writ- ten dialogue for kings and drum majorettes alike, and he was burning to direct. It was during this time that a script of Sturges’ titled “The Vagrant” was being pre- pared for filming. Sturges offered his services as director for the sum of $1. Paramount producer William LeBaron accepted the deal for $10 to make it more official. The script was retitled “The Great McGinty.” In parting, LeBaron warned the novice direc- tor that he’d be happier as a writer: “Shoemaker, stick to your last!” “You show me a man who sticks to his last, and I’ll show you a shoemaker,” Sturges thought to himself, on the staircase out of the office. So began the directing career of Preston Sturges. In a startlingly short rush of creative fervor, which chronologically paralleled the US’s most desperate years during World War II, Sturges directed seven peerless comedies. -
The Story of the MARX Brothers Paternal Family
15/07/2008 09:06 2008-07-11 The Story of the MARX Brothers Paternal Family This query was initiated by a member of the French Cercle de Genealogie Juive, who wrote to me: >It is said that Sam Marx, the father of the Marx Brothers, was born in Strasbourg, but was never >proved. What do you think about it? 4 months later, I arrived at the solution and, for your comfort, will begin to explain that there were 3 generations of Simon MARX Simon Marx (I ) 1804 oo Babet Weil Simon Marx (II) 1830 Hochfelden, Alsace -1901 Strasbourg, Alsace oo Adel Levi, alias Haennchen, Johanna Isaak 1839 Lorsch, Prussia-1910 Strasbourg Alsace Simon Marx (III) 1859 Mertzwiller Alsace -1933 Los Angeles, CA,, USA oo Minnie Schoenberg 1864 Dornum, Ostfrieseland, Prussia.- 1929 New York I will not explain in detail my lonely query, the main thing being the result. Thanks to Google, I began to search all that was published on the Marx Brothers and their parents, often leading to wrong tracks, as certain authors declared that the father was born in Alsace and sometimes in Strasbourg, after 1860. For that reason, I wasted my time in searching 1860 and later. First problem: the first name: Samuel or Simon ? In the questions-answers of Revue of the Cercle de Genealogie Juive, (n° 80 (still 2001!), 3470 and 4696): almost the same question: does somebody know something about?? On http://www.cineartistes.com I read: C’est à Strasbourg en Alsace que commence la saga de la famille Marx. En effet Simon, le futur père de Chico Marx (et des autres!) y voit le jour en 1861, dans le quartier juif de la ville. -
MAKING MEMORIES at the MOVIES - a Guide to Watch at Home
MAKING MEMORIES AT THE MOVIES - A Guide to Watch at Home Day & Night, Night & Day All films in this program have something in common: Either movie title or lead song has the word Day or Night in them! Do you recall seeing these films? Let’s spark some memories! #1 Night and Day is a 1946 Technicolor Warner Bros. biographical and musical film starring Cary Grant as American composer and songwriter Cole Porter. The film features several of the best-known Porter songs, including the title song "Night and Day," "Begin the Beguine" and "My Heart Belongs to Daddy." Alexis Smith plays Linda Lee Porter, Porter's wife of 35 years. Monty Woolley and Mary Martin appear as themselves, and the rest of the cast includes Jane Wyman, Eve Arden, Alan Hale, Dorothy Malone, Donald Woods, and Ginny Simms. Theme: Roughly covering the years 1912 to 1946, the story begins during Porter's undergraduate days at Yale University. When his first stage show fails, songwriter Cole Porter (Cary Grant) goes off to fight in World War I until, injured, he lands in a hospital. He impresses nurse Linda Lee (Alexis Smith) with his creativity, but their budding romance must wait as Cole heads home. Focusing his attentions on Broadway and the London stage in the postwar years, Porter pens an unbroken string of hit songs, including "Just One of Those Things," "You're the Top," "I Get a Kick Out of You," "Begin the Beguine," and “Day and Night”. We join the movie after Porter has been injured, sees Linda Lee again in the hospital and famously writes Night and Day.