The MARX BROTHERS - NEW Color photo post cards. Groucho, Harpo, Chico. Vintage

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Seller: mabehr3 (173) 100%, Location: New Haven, Connecticut, Ships to: Worldwide, Item: 323772514395 The MARX BROTHERS Tinted color photo postcard The Marx Brothers (Chico, Harpo & Groucho) –Classic tinted photograph 4¼ x 6 in. Printed by Northern California art publisher, Pomegranate Publications. New, in mint condition. Out of print. (Published in the late 1980s.) Please ask us about combined shipping discount. = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = Groucho Marx [From Wikipedia, the free encyclopedia] Julius Henry "Groucho" Marx (October 2, 1890[1] – August 19, 1977) was an American comedian and film and television star. He is known as a master of quick wit and widely considered one of the best comedians of the modern era.[2] His rapid-fire, often impromptu delivery of innuendo-laden patter earned him many admirers and imitators. He made 13 feature films with his siblings the Marx Brothers, of whom he was the third-born. He also had a successful solo career, most notably as the host of the radio and television game show You Bet Your Life[3]. His distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, glasses, cigar, and a thick greasepaint mustache and eyebrows. These exaggerated features resulted in the creation of one of the world's most ubiquitous and recognizable novelty disguises, known as "Groucho glasses", a one-piece mask consisting of horn-rimmed glasses, large plastic nose, bushy eyebrows and mustache.[4] Early life In a 1950 radio episode of You Bet Your Life, Groucho stated that he was born in a room above a butcher's shop on 78th Street in New York City. The Marx children grew up on East 93rd Street off Lexington Avenue in a neighborhood now known as Carnegie Hill on the Upper East Side of the borough of Manhattan, in New York City. The turn-of-the-century building that Harpo called "the first real home they ever knew" (in his memoir Harpo Speaks) was populated with European immigrants, mostly artisans. Just across the street were the oldest brownstones in the area, owned by people such as the well-connected Loew Brothers and William Orth. Groucho's mother was Miene "Minnie" Schoenberg, whose family came from Dornum in northern Germany when she was 16 years old. His father wasSimon "Sam" Marx, who changed his name from Marrix, and was called "Frenchie" throughout his life because of he and his family came fromAlsace-Lorraine.[5] Minnie's brother was Al Schoenberg, who shortened his name to Al Shean when he went into show business as half of Gallagher and Shean, a noted vaudeville act of the early 20th century. According to Groucho, when Shean visited he would throw the local waifs a few coins so that when he knocked at the door he would be surrounded by adoring fans. Marx and his brothers respected his opinions and asked him on several occasions to write some material for them. Minnie Marx did not have an entertainment industry career, but had intense ambition for her sons to go on the stage like their uncle. While pushing her eldest son Leonard (Chico Marx) in piano lessons, she found that Julius had a pleasant soprano voice and the ability to remain on key. Even though Julius's early career goal was to become a doctor, the family's need for income forced Julius out of school at the age of twelve. By that time, Julius had become a voracious reader, particularly fond of Horatio Alger. Throughout the rest of his life, Marx would overcome his lack of formal education by becoming very well-read. After a few unsuccessful stabs at entry-level office work and other jobs suitable for adolescents, Julius took to the stage as a boy singer in 1905. Though he reputedly claimed that as a vaudevillian he was "hopelessly average," it was merely a wisecrack. By 1909, Minnie Marx successfully managed to assemble her sons into a low-quality vaudeville singing group. Billed as "The Four Nightingales", Julius, Milton (Gummo Marx), Arthur (originally Adolph; Harpo Marx), and another boy singer, Lou Levy, traveled the U.S. vaudeville circuits to little fanfare. After exhausting their prospects in the East, the family moved to La Grange, Illinois, to play the Midwest. An early photo of the Marx brothers with their parents in New York City, 1915. From left to right: Groucho, Gummo, Minnie (mother), Zeppo, Frenchie (father), Chico, and Harpo. After a particularly dispiriting performance in Nacogdoches, Texas, Julius, Milton, and Arthur began cracking jokes onstage for their own amusement. Much to their surprise, the audience liked them better as comedians than as singers. They modified the then-popular Gus Edwards comedy skit "School Days" and renamed it "Fun In Hi Skule". The Marx Brothers would perform variations on this routine for the next seven years. For a time in vaudeville all the brothers performed using ethnic accents. Leonard, the oldest, developed the Italian accent he used as Chico Marx to convince some roving bullies that he was Italian, not Jewish. Adolph, the next oldest, donned a curly red wig and became "Patsy Brannigan", a stereotypical Irish character. His discomfort speaking on stage led to his uncle Al Shean's suggestion that he stop speaking altogether and play the role in pantomime. Julius Marx's character from "Fun In Hi Skule" was an ethnic German, so Julius played him with a German accent. After the sinking of the RMS Lusitania in 1915, public anti-German sentiment was widespread, and Marx's German character was booed, so he quickly dropped the accent and developed the fast-talking wise-guy character he would be remembered for. The Marx Brothers became the biggest comedic stars of the Palace Theatre, which billed itself as the "Valhalla of Vaudeville". Brother Chico's deal-making skills resulted in three hit plays on Broadway. No comedy routine had ever infected the hallowed Broadway circuit. All of this predated their Hollywood career. By the time the Marxes made their first movie, they were major stars with sharply honed skills, and when Groucho was relaunched to stardom on You Bet Your Life, he had already been performing successfully for half a century. Career Hollywood The Marx Brothers (from top, Chico,Harpo, Groucho, and Zeppo Marx) Groucho Marx made 26 movies, 13 of them with his brothers Chico and Harpo.[6] Marx developed a routine as a wise-cracking hustler with a distinctive chicken-walking lope, an exaggerated greasepaint mustache and eyebrows, and an ever-present cigar, improvising insults to stuffy dowagers (often played by Margaret Dumont) and anyone else who stood in his way. As the Marx Brothers, he and his brothers starred in a series of popular stage shows and movies. Their first movie was a silent film made in 1921 that was never released,[6] and is believed to have been destroyed at the time. A decade later, the team made some of their Broadway hits into movies, including The Cocoanuts and Animal Crackers.[6] Other successful films were Monkey Business, Horse Feathers, Duck Soup, and A Night at the Opera.[6] One quip from Marx concerned his response to Sam Wood, the director of the classic film A Night at the Opera. Furious with the Marx Brothers' ad-libs and antics on the set, Wood yelled in disgust: "You can't make an actor out of clay." Groucho responded, "Nor a director out of Wood."[7] Marx worked as a radio comedian and show host. One of his earliest stints was in a short-lived series in 1932 Flywheel, Shyster, and Flywheel, co-starring Chico. Most of the scripts and discs were thought to have been destroyed, but all but one of the scripts were found in 1988 in the Library of Congress. In 1947, Marx was chosen to host a radio quiz program You Bet Your Life broadcast by ABC and then CBS, before moving over to NBC radio andtelevision in 1960. Filmed before a live audience, the television show consisted of Marx interviewing the contestants and ad libbing jokes, before playing a brief quiz. The show was responsible for the phrases "Say the secret woid [word] and divide $100" (that is, each contestant would get $50); and "Who's buried in Grant's Tomb?" or "What color is the White House?" (asked when Marx felt sorry for a contestant who had not won anything). It ran for eleven years on television. Groucho was the subject of an urban legend about a supposed response to a contestant who had nine children which supposedly brought down the house. In response to Marx asking in disbelief why she had so many children, the contestant replied, "I love my husband." To this, Marx responded, "I love my cigar, too, but I take it out of my mouth once in a while." Groucho often asserted in interviews that this exchange never took place, but it remains one of the most often quoted "Groucho-isms" nonetheless.[8] Throughout his career he introduced a number of memorable songs in films, including "Hooray for Captain Spaulding" and "Hello, I Must Be Going", in Animal Crackers, "Whatever It Is, I'm Against It", "Everyone Says I Love You" and "Lydia the Tattooed Lady". Frank Sinatra, who once quipped that the only thing he could do better than Marx was sing, made a film with Marx andJane Russell in 1951 entitled Double Dynamite. Mustache, eyebrows and walk Groucho glasses In public and off-camera, Harpo and Chico were difficult to recognize by their fans without their wigs and costumes, but it was almost impossible to recognize Groucho without his trademark eye-glasses, fake eyebrows and mustache. The greasepaint mustache and eyebrows originated spontaneously prior to a vaudeville performance in the early 1920s when he did not have time to apply the pasted-on mustache he had been using (or, according to his autobiography, simply did not enjoy the removal of the mustache every night because of the effects of tearing an adhesive bandage off the same patch of skin every night). After applying the greasepaint mustache, a quick glance in the mirror revealed his natural hair eyebrows were too undertoned and did not match the rest of his face, so Marx added the greasepaint to his eyebrows and headed for the stage. The absurdity of the greasepaint was never discussed on-screen, but in a famous scene in Duck Soup, where both Chicolini (Chico) and Pinky (Harpo) disguise themselves as Groucho, they are briefly seen applying the greasepaint, implicitly answering any question a viewer might have had about where he got his mustache and eyebrows. Marx was asked to apply the greasepaint mustache once more for You Bet Your Life when it came to television, but he refused, opting instead to grow a real one, which he wore for the rest of his life. By this time, his eyesight had weakened enough for him actually to need corrective lenses; before then, his eye-glasses had merely been a stage prop. He debuted this new, and now much-older, appearance in Love Happy, the Marx Brothers's last film as a comedy team. He did paint the old character mustache over his real one on a few rare performing occasions, including a TV sketch with Jackie Gleason on the latter's variety show in the 1960s (in which they performed a variation on the song "Mister Gallagher and Mister Shean," co-written by Marx's uncle Al Shean) and the 1968 Otto Preminger film Skidoo. In his late 70s at the time, Marx remarked on his appearance: "I looked like I was embalmed." He played a mob boss called "God" and, according to Marx, "both my performance and the film were God-awful!". The exaggerated walk, with one hand on the small of his back and his torso bent almost 90 degrees at the waist was a parody of a fad from the 1880s and 1890s. Fashionable young men of the upper classes would affect a walk with their right hand held fast to the base of their spines, and with a slight lean forward at the waist and a very slight twist toward the right with the left shoulder, allowing the left hand to swing free with the gait. Edmund Morris, in his biography The Rise of Theodore Roosevelt, describes a young Roosevelt, newly elected to the State Assembly, walking into the House Chamber for the first time in this trendy, affected gait, somewhat to the amusement of the older and more rural Members who were present. Groucho exaggerated this fad to a marked degree, and the comedy effect was enhanced by how out of date the fashion was by the 1940s and 1950s. Personal life Groucho's three marriages all ended in divorce. His first wife was chorus girl Ruth Johnson. He was 29 and she 19 at the time of their wedding. The couple had two children, Arthur Marx and Miriam Marx. His second wife was Kay Marvis (m. 1945–51), née Catherine Dittig[9], former wife of Leo Gorcey. Groucho was 54 and Kay 21 at the time of their marriage. They had a daughter, Melinda Marx. His third wife was actress Eden Hartford.[10]She was 24 when she married the 63-year-old Groucho. During the early 1950s, Groucho described his perfect woman: “Someone who looks like Marilyn Monroe and talks like George S. Kaufman.”[11] Often when the Marxes arrived at restaurants, there would be a long wait for a table. "Just tell the maître d' who we are," his wife would say. (In his pre-mustache days, he was rarely recognized in public.) Groucho would say, "OK, OK. Good evening, sir. My name is Jones. This is Mrs. Jones, and here are all the little Joneses." Now his wife would be furious and insist that he tell the maître d' the truth. "Oh, all right," said Groucho. "My name is Smith. This is Mrs. Smith, and here are all the little Smiths." Similar anecdotes are corroborated by Groucho's friends, not one of whom went without being publicly embarrassed by Groucho on at least one occasion. Once, at a restaurant (the most common location of Groucho's antics), a fan came up to him and said, "Excuse me, but aren't you Groucho Marx?" "Yes," Groucho answered annoyedly. "Oh, I'm your biggest fan! Could I ask you a favor?" the man asked. "Sure, what is it?" asked the even-more annoyed Groucho. "See my wife sitting over there? She's an even bigger fan of yours than I am! Would you be willing to insult her?" Groucho replied, "Sir, if my wife looked like that, I wouldn't need any help thinking of insults!" Groucho's son Arthur published a brief account of an incident that occurred when Arthur was a child. The family was going through customs and, while filling out a form, Groucho listed his name as "Julius Henry Marx" and his occupation as "smuggler." Thereafter, chaos ensued. [12] Later in life, Groucho would sometimes note to talk-show hosts, not entirely jokingly, that he was unable to actually insult anyone, because the target of his comment assumed it was a Groucho-esque joke and would laugh. Despite his lack of formal education, he wrote many books, including his autobiography, Groucho and Me (1959) and Memoirs of a Mangy Lover (1963). He was personal friends with such literary figures as T. S. Eliot and Carl Sandburg. Much of his personal correspondence with those and other figures is featured in the book The Groucho Letters (1967) with an introduction and commentary on the letters written by Groucho, who donated his letters to the Library of Congress. Irving Berlin quipped, "The world would not be in such a snarl, had Marx been Groucho instead of Karl",[13] In his book The Groucho Phile, Marx says "I've been a liberal Democrat all my life", and "I frankly find Democrats a better, more sympathetic crowd.... I'll continue to believe that Democrats have a greater regard for the common man than Republicans do".[14] Marx & Lennon: The Parallel Sayings was published in 2005; the book records similar sayings between Groucho Marx and John Lennon. Later years You Bet Your Life In the mid-1940s, during a depressing lull in his career (his radio show Blue Ribbon Town had failed to hold on, and the Marx Brothers looked finished as film performers), Groucho was scheduled to appear on a radio show with Bob Hope. Annoyed that he was made to wait in the waiting room for 40 minutes, Groucho went on the air in a foul mood.Groucho's radio life was not as successful as his life on stage and in film, though historians such as Gerald Nachman and Michael Barson suggest that, in the case of the single-season Flywheel, Shyster, and Flywheel (1932), the failure may have been a combination of a poor time slot and the Marx Brothers' returning to Hollywood to make another film. Groucho as host of You Bet Your Life, 1953. Hope started by saying "Why, it's Groucho Marx, ladies and gentlemen! (applause) Groucho, what brings you here from the hot desert?" Groucho retorted, "Hot desert my foot, I've been standing in the cold waiting room for forty minutes!" Groucho continued to ignore the script, and although Hope was a formidable ad-libber in his own right, he could not begin to keep up with Groucho, who lengthened the scene well beyond its allotted time slot with a veritable onslaught of improvised wisecracks. Listening in on the show was producer John Guedel, who got a brainstorm. He approached Groucho about doing a quiz show, to which Groucho derisively retorted, "A quiz show? Only actors who are completely washed up resort to a quiz show!" Undeterred, Guedel explained that the quiz would be only a backdrop for Groucho's interviews of people, and the storm of ad-libbing that they would elicit. Groucho said, "Well, I've had no success in radio, and I can't hold on to a sponsor. At this point, I'll try anything!" You Bet Your Life debuted in October 1947 on radio on ABC (which aired it from 1947–49), sponsored by costume jewelry manufacturer Allen Gellman;[15] and then on CBS (1949–50), and finally NBC, continuing until May 1961—on radio only, 1947–1950; on both radio and television, 1950–1960; and on television only, 1960-1961. The show proved a huge hit, being one of the most popular on television by the mid-1950s. With George Fenneman, as his announcer and straight man, Groucho slayed his audiences with improvised conversation with his guests. Since You Bet Your Life was mostly ad-libbed and unscripted—although writers did pre-interview the guests and feed Groucho ready-made lines in advance—the producers insisted that the network prerecord it (instead of being broadcast live). There were two reasons for this: prerecording provided Groucho with time to fish around for funny exchanges and any intervening dead spots to be edited out; and secondly to protect the network, since Groucho was a notorious loose cannon and known to say almost anything. The television show ran for 11 successful seasons until it was canceled in 1961. DeSoto was a long-time major sponsor. For the DeSoto ads Marx would sometimes say "Tell 'em Groucho sent you", or "Try a DeSoto before you decide". The program's theme music was an instrumental version of "Hooray for Captain Spaulding", which became increasingly identified as Groucho's personal theme song. Groucho released a record of the song with the Ken Lane singers and orchestra directed by Victor Young in 1952. Another recording made by Groucho during this period was "The Funniest Song in the World", released on the Young Peoples' Records label in 1949. It was a series of five original children's songs with a connecting narrative about a monkey and his fellow zoo creatures. Other work By the time You Bet Your Life debuted on TV on October 5, 1950, Groucho had grown a real mustache (which he had already sported earlier in the films Copacabana and Love Happy). During a tour of Germany in 1958, accompanied by then-wife Eden, daughter Melinda, Robert Dwan and Dwan's daughter Judith, he climbed a pile of rubble that marked the site of Adolf Hitler's bunker, the site of Hitler's death, and performed a two-minute Charleston.[16] He later remarked to Richard J. Anobile in The Marx Brothers Scrapbook, "Not much satisfaction after he killed six million Jews!" Marx as Koko, 1960. In 1960, Groucho, a lifelong devotee of the comic operas of Gilbert and Sullivan, appeared as Koko the Lord High Executioner in a televised production of The Mikado on NBC's Bell Telephone Hour. Another TV show, Tell It To Groucho, premiered January 11, 1962 on CBS, but only lasted five months. On October 1, 1962, Groucho, after acting as occasional guest host of The Tonight Show during the six-month interval between Jack Paar and Johnny Carson, introduced Carson as the new host. In 1965, a weekly show for British TV titled Groucho was poorly received and only lasted 11 weeks. Groucho appeared as a gangster named God in the movie Skidoo (1968), co-starring Jackie Gleason and Carol Channing, directed by Otto Preminger, and released by the studio where he got his Hollywood start, Paramount Pictures. The film got almost universally negative reviews. As a side note, writer Paul Krassner published a story in the February 1981 issue of High Times, relating how Groucho prepared for the LSD-themed movie by taking a dose of the drug in Krassner's company, and had a moving, largely pleasant experience. Four years later came Groucho's last theatrical film appearance; a brief, uncredited cameo in Michael Ritchie's The Candidate (1972). In the early 1970s, largely at the behest of companion Erin Fleming, Groucho, now aged 82, made a comeback with a live one-man show, including one recorded at Carnegie Hall in 1972 and released as a double album, An Evening with Groucho, on A&M Records. He also made an appearance in 1973 on a short-lived variety show hosted by Bill Cosby, who idolized Groucho. Groucho developed friendships with rock star Alice Cooper—the two were photographed together for Rolling Stone magazine—and television host Dick Cavett, becoming a frequent guest on Cavett's late-night talk show. He befriended Elton John when the British singer was staying in California in 1972, insisting on calling him "John Elton." According to writer Philip Norman, when Groucho jokingly pointed his index fingers as if holding a pair of six-shooters, Elton John put up his hands and said, "Don't shoot me, I'm only the piano player," thereby naming the album he had just completed. Elton John accompanied Groucho to a performance of Jesus Christ Superstar. As the lights went down, Groucho called out, "Does it have a happy ending?" And during the Crucifixion scene, he declared, "This is sure to offend the Jews." Groucho's previous works regained popularity and were accompanied by new books of transcribed conversations by Richard J. Anobile and Charlotte Chandler. In a BBC interview in 1975, Groucho called his greatest achievement having a book selected for cultural preservation in the American Library of Congress. As a man who never had formal schooling, to have his writings declared to be culturally important was a point of great satisfaction. As he passed his 81st birthday in October 1971, however, Groucho became increasingly frail physically and mentally as a result of several minor strokes he suffered.[17][18] Controversy surrounded the companionship he had developed with Erin Fleming, which consequently raised disputes over his estate. Jack Lemmon presented Groucho with an honorary Academy Award in 1974, his final major public appearance, in which he received a standing ovation. Noticeably frail and sluggish, Groucho took a bow for his deceased brothers, saying, "I wish that Harpo and Chico could be here to share with me this great honor." He also wished that Margaret Dumont could have been present, adding that she was a great straight woman for him and that she never understood any of his jokes.[19] Groucho's final appearance was a brief sketch with George Burns in the Bob Hope television Special Joys in 1976. His health was noticeably worsening by the following year and when Gummo died, aged 84, on April 21, 1977, in Palm Springs, California, the death of his younger brother was not reported to Groucho because it was thought too detrimental to his health.[20] Groucho maintained his irrepressible sense of humor to the very end, however. According to Dick Cavett's New York Times blog, when the elderly Groucho visited an old friend in the hospital, he said to the elevator attendant, as if in a department store, "Men's tonsils, please." When Groucho himself was on his deathbed, and a nurse came around with a thermometer, explaining that she wanted to see if he had a temperature, he responded, "Don't be silly—everybody has a temperature." [21] George Fenneman, his radio and TV announcer, good-natured foil, and lifelong friend, often related a story in subsequent years of one of his final visits to Groucho's home: When the time came to end the visit, Fenneman lifted Groucho from his wheelchair, put his arms around his torso, and began to "walk" the frail comedian backwards across the room toward his bed. As he did, he heard a weak voice in his ear: "Fenneman," whispered Groucho, "you always were a lousy dancer."[22] Death Marx's children, particularly his son Arthur, felt strongly that Fleming was pushing their weak father beyond his physical and mental limits. Writer Mark Evanier concurred.[17][18] Fleming's influence on Marx was controversial. Many close to him believed that she did much to revive his popularity. Also, some observers felt the apparent relationship with a young starlet boosted Groucho's ego, adding to his vitality. Others, described her in Svengali-esque terms, accusing her of exploiting an increasingly senile Marx in pursuit of her own stardom, while reportedly exhibiting erratic and violent behavior suggesting mental instability. Marx was hospitalized for pneumonia on June 22, 1977 and died on August 19 at Cedars Sinai Medical Center in Los Angeles.[3] Fleming, increasingly mentally unstable through the years, committed suicide in 2003. He was cremated and the ashes were interred in the Eden Memorial Park Cemetery in Los Angeles. Groucho had the longest lifespan of all the Marx Brothers and was survived only by younger brother Zeppo, who outlived him by two years, dying in 1979 at the age of 78. Sadly, Groucho's death was somewhat overshadowed, having occurred just three days after the death of Elvis Presley. In an interview, he jokingly suggested his epitaph read: "Excuse me, I can't stand up." But his mausoleum marker bears only his stage name, a Star of David that represents his Judaism, and the years of his birth and death.[23] Legacy Groucho Marx was, and is, the most recognizable and well-known of the Marx Brothers. Groucho-like characters and references have appeared in popular culture both during and after his life, some aimed at audiences who may never have seen a Marx Brothers movie. Groucho's trademark eye glasses, nose, mustache, and cigar have become icons of comedy—glasses with fake noses and mustaches (referred to as "Groucho glasses", "nose-glasses," and other names) are sold by novelty and costume shops around the world. Nat Perrin, close friend of Groucho Marx and writer of several Marx Brothers films, inspired John Astin's portrayal of Gomez Addams on the 1960's TV Series The Addams Family with similarly thick mustache, eyebrows, sardonic remarks, backward logic, and ever-present cigar (pulled from his breast pocket already lit). Alan Alda often vamped in a Groucho-esque manner on M*A*S*H. In one episode, Yankee Doodle Doctor, after "borrowing" a USO movie camera, Hawkeye and Trapper put on a Marx brothers-esque film at the 4077, with Hawkeye imitating Groucho and Trapper imitating Harpo. Also, in three episodes, a character in the series (played by Loudon Wainwright III) was named Captain Calvin Spalding in an obvious nod to Groucho's character in Animal Crackers, Captain Geoffrey T. Spaulding. On many occasions, on the 1970's television sitcom All In The Family, Micheal Stivic, portrayed by Rob Reiner, would briefly imitate Groucho Marx and his maneurisms. Two of the British rock band Queen's albums, A Night at the Opera (1975) and A Day at the Races (1976), are named after Marx Brothers films. In March 1977, Groucho invited Queen to visit him in his Los Angeles home; there they performed "'39" a capella.[24] A long-running ad campaign for Vlasic Pickles features an animated stork that imitates Groucho's mannerisms and voice.[25] On the famous Hollywood Sign in California, one of the "O"s is dedicated to Groucho. Alice Cooper contributed over $27,000 to remodel the sign, in memory of his friend. In 1982, Gabe Kaplan portrayed Marx in the film Groucho, in which he performed on stage.[26] Actor Frank Ferrante has performed as Groucho Marx on stage for more than two decades. He continues to tour under rights granted by the Marx family in a one-man show entitled An Evening With Groucho in theaters throughout the United States and Canada with piano accompanist Jim Furmston. In the late 1980s Ferrante starred as Groucho in the off-Broadway and London show Groucho: A Life in Revue penned by Groucho's son Arthur. Ferrante portrayed the comedian from age 15 to 85. The show was later filmed for PBS in 2001. Woody Allen's 1996 musical Everyone Says I Love You, in addition to being named for one of Groucho's signature songs, ends with a Groucho-themed New Year's Eve party in Paris, which some of the stars, including Allen and Goldie Hawn, attend in full Groucho costume. The highlight of the scene is an ensemble song-and-dance performance of "Hooray for Captain Spaulding"—done entirely in French. In the last of the Tintin comics, Tintin and the Picaros, a balloon shaped like the face of Groucho could be seen in the Annual Carnival. The BBC remade the radio sitcom Flywheel, Shyster and Flywheel, with contemporary actors playing the parts of the original cast. The series was repeated on digital radio station BBC7. Scottish playwright Louise Oliver wrote a play named "Waiting For Groucho" about Chico and Harpo waiting for Groucho to turn up for the filming of their last project together. This was performed by Glasgow theatre company Rhymes with Purple Productions at the Edinburgh Fringe and in Glasgow and Hamilton in 2007-08. Groucho was played by Scottish actor Frodo McDaniel.[27] [edit]Solo filmography [edit]Features Yours for the Asking (as sunbather, uncredited) (1936), released by Paramount PicturesThe King and the Chorus Girl (1937), co-writer with Norman KrasnaInstatanes (1943)Copacabana (1947), released by United ArtistsMr. Music (as himself) (1950), released by Paramount PicturesDouble Dynamite (as Emile J. Keck) (1951), released by RKOA Girl in Every Port (as Benjamin Linn) (1952), released by RKOWill Success Spoil Rock Hunter? (1957) (as George Schmidlap, uncredited), released by 20th Century FoxThe Story of Mankind, (1957) (Harpo and Chico also appeared, but in individual scenes)The Mikado (as Koko) (1960), made for televisionSkidoo (as God) (1968), released by Paramount Short subjects Hollywood on Parade No. 11 (1933)Screen Snapshots Series 16, No. 3 (1936)Sunday Night at the Trocadero (1937)Screen Snapshots: The Great Al Jolson (1955)Showdown at Ulcer Gulch (1956) (voice)Screen Snapshots: Playtime in Hollywood (1956) See also Time flies like an arrow; fruit flies like a banana. - a quotation attributed to MarxParaprosdokian, a phrase type Marx was known for Further reading Miriam Marx Allen, Love, Groucho: Letters From Groucho Marx to His Daughter Miriam (1992, ISBN 0-571-12915-3)Charlotte Chandler, Hello, I Must Be Going (1979, ISBN 0-14-005222-4)Stefan Kanfer, Groucho: The Life and Times of Julius Henry Marx (2000, ISBN 0-375-70207-5)Simon Louvish, Monkey Business: The Lives and Legends of the Marx Brothers (2001, ISBN 0-312-25292-7)Arthur Marx, Life With Groucho (1954, revised as My Life with Groucho: A Son's Eye View 1988, ISBN 0-330-31132-8))Arthur Marx, Son of Groucho (1972, ISBN 0-679-50355-2)Groucho Marx, Groucho and Me (1959, ISBN 0-306-80666-5)Groucho Marx, Memoirs of a Mangy Lover (1963, ISBN 0-306-81104-9)Groucho Marx, The Groucho Letters: Letters From and To Groucho Marx (1967, ISBN 0-306-80607-X)Groucho Marx, Beds (1977, ISBN 0-672-52224-1)Harpo Marx, Harpo Speaks (1961, revised as Harpo Speaks! 1985, ISBN 0-87910-036-2)Glenn Mitchell, The Marx Brothers Encyclopedia (1996, ISBN 0-7134-7838-1)Steve Stoliar, Raised Eyebrows: My Years Inside Groucho's House (1996, ISBN 1-881649-73-3)Julius H. (Groucho) Marx v. Commissioner of Internal Revenue, 29 T.C. 88 (1957) External links Groucho Marx at the Internet Movie DatabaseGroucho Marx at the TCM Movie DatabaseGroucho Marx at the Internet Broadway DatabaseGroucho Marx at Find a GraveAlistair Cooke's reflections on his friendship with GrouchoLydia's Marx Brothers Tribute WebsiteGroucho Marx Old Time Radio Mp3s from Archive.orgGroucho's letter to Warner Brothers when they threatened to sue himUrban Legends Reference Page: Groucho Marx: "I Love My Cigar"Esquire magazine profile of Groucho Marx in 1972, by Roger Ebert1922 passport photo of Groucho and first wife Ruth Johnson(courtesy of the Puzzlemaster, is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of use for details.Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.~~~~~~~~~~~~~~~~~~~~ Margaret Dumont From Wikipedia, the free encyclopedia Margaret Dumont (October 20, 1882 - March 6, 1965)[1][2][3] was an American comedic actress. She is remembered mostly for being the comic foilto Groucho Marx in seven of the Marx Brothers films. Groucho called her "practically the fifth Marx brother."[4] Early life and career She was born Daisy Juliette Baker in Brooklyn, New York, the daughter of William Baker and Harriet Anna Harong.[1] As a child Daisy Baker lived in the southern states, where she was mainly raised by her godfather, the writer Joel Chandler Harris.[5][6] Dumont trained as an operatic singer and actress in her teens, and began performing on stage in both America and Europe, at first under the name Daisy Dumont and later as Margaret (or Marguerite) Dumont. Her theatrical debut was in Beauty and the Beast at the Chestnut Theater inPhiladelphia, and in August 1902, two months before her 20th birthday, she appeared as a singer/comedienne in a vaudeville act in Atlantic City. The dark-haired soubrette, described by a theater reviewer as a "statuesque beauty", attracted notice later that decade for her vocal and comedic talents in The Girl Behind the Counter (1908), The Belle of Brittany (1909), and The Summer Widower (1910).[7] In 1910, she married millionaire sugar heir and industrialist John Moller Jr. and retired from stage work, although she had a small uncredited role as an aristocrat in a 1917 film adaptation of A Tale of Two Cities.[5][8] After her husband's sudden death in 1918, she returned reluctantly to the Broadwaystage, and soon gained a strong reputation in musical comedy productions.[7][9] Her Broadway career included roles in the musical comedies and plays The Fan (1921), Go Easy, Mabel (1922), The Rise of Rosie O'Reilly (1923/24), and The Fourflusher (1925),[10] and she had an uncredited role in the 1923 film Enemies of Women.[8] Performances with the Marx Brothers She then came to the attention of writer George S. Kaufman, who hired her to play the dowager Mrs. Potter alongside the Four Marx Brothers in their Broadway production of The Cocoanuts in 1925.[5] In October 1928, their next Broadway show, Animal Crackers, opened, and Dumont was again cast as the wealthy society dowager and their straight woman. In 1929 they filmed the screen version of The Cocoanuts. Performing with the Marx Brothers, Dumont played wealthy high-society, posh-voiced widows whom Groucho alternately insulted and romanced for their money. The roles are Mrs. Potter in The Cocoanuts (1929), Mrs. Rittenhouse in Animal Crackers (1930), Mrs. Gloria Teasdale in Duck Soup (1933), Mrs. Claypool in A Night at the Opera (1935), Emily Upjohn in A Day at the Races(1937), Mrs. Suzanna Dukesbury in At the Circus (1939), and Martha Phelps in The Big Store (1941). Her work in A Day at the Races earned her a Best Supporting Actress Award from theScreen Actors Guild, film critic Cecilia Ager suggesting that a monument be erected in honor of her courage and steadfastness in the face of the Marx Brothers' antics.[9][11] Groucho once said that many people believed they were married in real life, even though they were not. A typical exchange, from Duck Soup, follows: Groucho: Oh, uh, I suppose you'll think me a sentimental old fluff, but would you mind giving me a lock of your hair? Dumont (smitten): A lock of my hair? Why, I had no idea you ... Groucho: I'm letting you off easy. I was gonna ask for the whole wig! Dumont also endured dialogue about her characters' (and thus her own) stoutish build, as with these lines, also from Duck Soup: Dumont: I've sponsored your appointment because I feel you are the most able statesman in all Freedonia. Groucho: Well, that covers a lot of ground. Say, you cover a lot of ground yourself! You'd better beat it; I hear they're going to tear you down and put up an office building where you're standing! and: Groucho: Why don't you marry me? Dumont: Why, marry you? Groucho: You take me, and I'll take a vacation. I'll need a vacation if we're going to get married. Married! I can see you right now in the kitchen, bending over a hot stove. But I can't see the stove! Or her age (in their last film pairing, The Big Store): Dumont (kittenish after Groucho steals a peck): You make me think of my youth. Groucho: Really? He must be a big boy by now. Dumont's character would often give a short, startled or confused reaction to such insults, but would not otherwise respond and appeared to forget the insult quickly. Dumont's presumed ladylike innocence, in contrast to Groucho's perpetual leer, was fodder for Groucho's oft-stated comment that the brothers had to explain jokes like this to her: Groucho (to the other brothers, during a battle sequence in Duck Soup): Remember, you're fighting for this woman's honor, which is probably more than she ever did! and this, from A Night at the Opera: Dumont: Do you have everything, Otis? Groucho: I've never had any complaints yet! But there could be fleeting moments of touching consideration shown by Groucho in their faux romances, as in the party scene from The Big Store: Dumont: Oh, I'm afraid after we're married a while a beautiful young girl will come along and you'll forget all about me. Groucho: Don't be silly. I'll write you twice a week. Decades later in his one man show at New York's Carnegie Hall, Groucho mentioned Dumont's name and got a burst of applause. He falsely informed the audience that she rarely understood the humor of their scenes together and would ask him, "Why are they laughing, Julie?" ("Julie" was her nickname for Julius, Groucho's birth name). Dumont was so important to the success of the Marx Brothers films, she is one of the few people mentioned by Groucho in his short acceptance speech for an honorary Oscar (the other four are Harpo, Chico, his mother, and his companion Erin Fleming. Zeppo Marx was omitted). In her interviews and press profiles, Dumont preserved the myth of her on-screen character: the wealthy, regal woman who never quite understood the joke. Dumont's acting style, especially in early films, provides a window into the old-fashioned theatrical style of projecting to the back row, such as trilling the "r" for emphasis. She also had a classical operatic singing voice which screenwriters eagerly used to their advantage. Perpetuating Groucho's joke on the subject, film critics and historians have incorrectly stated for decades that since Dumont never broke character or cracked a smile at Groucho's jokes, she did not "get" the Marx Brothers' type of humor. The fact is she knew the jokes were funny indeed, but as a seasoned actress and a professional kept a straight face no matter what.[7] In the early Marx brothers films especially, when Groucho levels an insult at her, she can be seen giving an appropriate and fleeting "shocked" response as part of her characterization. One exception to her sticking with the script occurred in her last appearance with Groucho in 1965 on ABC-TV's Hollywood Palace. Mid-way through a recreation of a scene from Animal Crackers, Groucho stopped her as she was about to deliver her next line. "Don't step on those few laughs I have up here" he scolded, which made Dumont break up laughing. Other roles and later life Over the course of her career Margaret Dumont played in 57 films, including some minor silent work that began with A Tale of Two Cities (1917). Her first feature film was the Marx Brothers filmThe Cocoanuts (1929), in which she played Mrs. Potter, the same role she played in the stage version from which the film was adapted. She also played the same dignified, poised dowager in other movies, with W.C. Fields (Never Give a Sucker an Even Break, 1941) and (Tales of Manhattan, 1942), Abbott and Costello (Little Giant, 1946), Laurel and Hardy (The Dancing Masters, 1943), Red Skelton (Bathing Beauty, 1944), Jack Benny (The Horn Blows at Midnight, 1945), Wheeler and Woolsey and George "Spanky" McFarland (Kentucky Kernels, 1934) and (High Flyers, 1937, with Lupe Vélez thrown in for good measure), radio comedian Joe Penner (The Life of the Party, 1937), George "Gabby" Hayes(Sunset in El Dorado), and Danny Kaye (Up In Arms, 1944), and on television with Martin and Lewis (The Colgate Comedy Hour, December 1951).[8] Interestingly, Turner Classic Movies’ website says of High Flyers—one of her lesser-known outings: "The surprise…is seeing her play a somewhat daffy matron, more Billie Burke than typical Margaret Dumont. As the lady who's into crystal gazing and dotes on her kleptomaniac bull terrier, she brings a discreetly screwball touch to the proceedings."[12] Dumont also played some dramatic parts, such as Youth on Parole (1937) and Dramatic School (1938). She also appeared in Stop, You're Killing Me (1952), Three for Bedroom C (1952), Shake, Rattle & Rock! (1956), and Zotz! (1962).[8] Her last movie was What a Way to Go! (1964), in which she played Shirley MacLaine's mother, Mrs. Foster. Eight days before her death she made her final acting appearance on the television program The Hollywood Palace on February 26, 1965, where she was reunited onstage with Groucho—that week's guest host—one final time. They performed material adapted from Captain Spaulding's introductory scene in Animal Crackers. The taped show was aired on April 17, several weeks after her death. Death Margaret Dumont died from a heart attack on March 6, 1965. She was 82 years of age, although many obituaries gave her age as 75.[13] External links l Margaret Dumont at the Internet Movie DatabaseMargaret Dumont at the Internet Broadway DatabaseMargaret Dumont at Find a GraveMargaret Dumont at Clown Ministry Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of use for details.Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Condition: New, Modified Item: No, Features: 4¼ x 6 in. Postcard, Subject: Film, Postage Condition: Unposted, Era: Chrome (c. 1939-present)

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