Відео

this was my fav podcast of yours. monkey biz for me is the purest form of marxism. anarchy and mayhem at its best. at that time, making fun of the upper class during the depression was a big deal.

Just have to correct one thing that was said by Noah. Well, Danny fingeroth did edit Spider-Man titles. His claim that he wrote all the titles is wrong. He wrote a couple miniseries but at most that was like 12 issues.

Noah, I feel like your theory of 2 programs from Groucho’s collection seems reasonable coming from working in the printing industry and printed many theatre programs. Also, liked the research in realtime. 😊

I'm sure it would be a surprise to y'all, but there are some people who have absolutely no interest in the nude photo of Harpo or any other people at all. If I got in the mail I'd just throw it in the trash. After that just let me say I enjoyed the podcast as I usually do with the exception of the stuff about Harpo that Y'all kept harping on.

Merci, Bob, pour cette rhapsodie hongroise pour en finir. C'était glorieux !

"UA-cam poop, eh? Well hopefully they at least pay you well."

1:40:10 Andy mentions drifting off to sleep, in his childhood bed, with the divine piano strains of the real-life Bronisław Kaper still wafting through his house. Kaper's _Invitation_ has haunted me for over a decade. The song _Two Figures_ by _Prince Nifty_ samples heavily from the audio track of the 1950 MGM film, _A Life of Her Own,_ for which _Invitation_ was originally the theme. It took me years to identify that sample. _A Life of Her Own_ is a Lana Turner melo-noir about a small-town pretty-girl trying to make it as a dress model in the big, bad city. It contains one perfectly moody, atmospheric scene in which a ventriloquist's dummy does his best to entertain Lana and her forbidden lover, as they linger in a wee-hours lounge, before he must leave the city forever. _Invitation_ was such a haunting theme that it eventually got its own movie, in 1952. Cal Tjader does wonderful things with the melody on his 1956 album, _Latin Kick._ And it turns up again, in a gorgeous orchestration, on the soundtrack to the 1958 film of _Auntie Mame._ I'd have never guessed that Kaper had also written _Cosi Cosa!_

Big fan of the Podcast, but this episode was painful to listen to. I stuck it out but sorry I did.

This episode leaves me with one question. Did Nat Bonx ever cross paths with Frank J. Corbett?

That 'Mrs. Rittenhouse' song is freakin brilliant. 😁😇

Wow! Some dazzling detective work from Matthew, who - Poirot-like - actually locates a crucial clue live on the air. Dervish Noah delights us with his knack for turning a phrase. (I've just hung a « _Screaming in the darkness is always a good option_ » motivational poster above my desk.) And to top it all, a sweet serenade performed by the sublime Josh Max, with Arabella Rittenhouse's boyfriend on harmonies and tambourine.

“He’s a wise-a guy”- a wise man (aka Chico Marx 😂)

Im there my 14 year old self,... laughing for one of my favorite comedians of all time, we gave him a standing ovation when he pulled out his cigar! What an absolute treat

So glad Noah calls “iconic“ the most overused english word. Now dont use it again 😅😊

Preston Sturges might have worked well for the brothers. He could write some pretty witty dialogue and wasn't above some slap stick if the occasion called for it. His films are highly regarded. One of the great misses of the Marx's career.

Edgar Kennedy's scenes outside the palace in DUCK SOUP may not be first-rate Marx but the payoff with Harpo emerging from Kennedy's bathtub vindicates his ptesence. Also the dialogue between Edgar and his wife is priceless: "Freedonia's gone to war!" - and his reply: "I'm gonna take a bath!" Reply

Great and very insightful discussion, thank you! Regarding pronunciation for William A. Seiter-: this might settle it--ua-cam.com/video/QQyyXneVGw8/v-deo.html Both Seiter and Robert Florey were great favourites of William K. Everson--he has some interesting comments about them here--ua-cam.com/video/PJ5iPGeEmW8/v-deo.html My own favourite part of THE INCREDIBLE JEWEL ROBBERY--apart from the historic finale--is the opening shadowy film noir pastiche, with Harpo in place of Robert Mitchum or John Garfield, etc.--and I reckon credit for it would be due to Mitchell Leisen.

Stimulating podcast as always, Matthew and Noah! Incidentally, Leo McCarey already used the mirror scene in the one reel 1925 Charley Chase short SITTING PRETTY where it's performed by Charley and his brother, Jimmy Parrott. Like Chico & Harpo putting on Groucho makeup to resemble him in DUCK SOUP, Charley puts on a fake beard to resemble his brother in SITTING PRETTY.

This is wonderful! Thank you for sharing these weekends with those who could not be there. Especially the number with Noah and Jonny Porkpie! And Tefteller's new Circle and Flywheel clips! And Josh Max's incredible _Love Happy._ I adore this theme! (If only the film could have lived up to the promise of its rather glorious music...)

Fantastic episode! Andrea is always magnificent! In the revival of _I'll Say She Is,_ did Noah's troupe endeavour to "fix" Zeppo's performances to make them more engaging? Or leave them as a tribute to Zep's « _nuts to this_ » attitude?

Minow to minnow ? Mandella Efect?😂❤m i n now?😂❤

Ever notice that about 6 minutes, 12 seconds into _The Cocoanuts,_ you can observe Kristen Schaal's grandmother as one of the lobby boys? Middle row, third from the left.

Each summer, I used to go with my parents on holiday to the Shaw Festival, in Niagara, Canada. They would put on plays by Shaw, but they also mounted melodramas and musicals from his era, 1856-1950. As you can imagine, this involved an awful lot of grand manors with chandeliers, ball guests in evening gowns being announced at the stairhead, singing and dancing butlers in bowties, and dysfunctional families whose terrible neuroses would magically untangle once the elders could find it in their hearts to let their children marry the partners they'd chosen, rather than ones that society demands. What delights me about _Animal Crackers_ is how mercilessly it skewers those clichés. The thing that frustrates viewers like Thalberg about the Paramounts - namely, their lack of a story the audience can follow or care about - arises because the real plot is always a conflict between the « _legitimate theatre_ » and vaudeville. eg, A troupe of _professional actors_ is earnestly trying to crunch through all the mandatory scenes of a society play / gangster film / college pic / Ruritanian romance, when a gang of wild boys from the circuit breaks in, ties up all the real leads backstage, and goes on in their place, to wreak havoc.

Noah, Kathy, everyone - thank you so much for including me and saying such nice things! What an experience. :) See you around the zoo! HONK!

Thank you for the shout-out. Olga and I had a great time bringing our puppets to the Marxfest! (It was 1973 for real.)

ua-cam.com/video/cybxwAJ21zg/v-deo.html

17:55 Another brilliant book title from Noah: _Grease-Paint Moustaches and the Complete Overthrow of Reason_

Can relate to Bob with his struggle with changing something in Wikipedia... I once trying to make them change the part where it said that Groucho was responsible for George's fly across the scene in episode of YBYL (where he was suspended in the air) when in fact if you watch that fragment closely it was the girl who pushed George's legs giving him the spin

"The idea of Four Marx Brothers" Don't think that it really was important that there were exactly FOUR of them, just that they were The Marx BROTHERS. And if Gummo was easily replaced (the one who went through the beginning and vaudeville), don't think that there were much of need in Zeppo in the act too or some kind of sentimental value to it

Leave them wanting less, Glenn.

1:10:59 *From Noah, a quotation for the ages:* _Harpo should be delivering madness to a buttoned-up world. Not playing straight man to a piece of furniture._

What Steve hoped to see in Groucho's home footages? Universe's secrets? It was kinda arrogant of him to say that there was nothing of interest especially in 1979 when he was one of maybe hundred lucky ones who were able to see those movies And he'd really prefer that Groucho in thousand time was talking about his career instead of the thing he really liked and enjoyed - gardening (and not so many of us know about it)?

rebecca rofle. i don't think you're suppose to deadname people.

The book....meh....maybe "He needed the money"

Just wondering about Harpo's glued-on hair in _A Night in Casablanca..._ Could it be that because so much of the plot involves Harpo misappropriating Stubel's toupée, they thought Harpo's hair had to be somehow beyond suspicion as a wig?

Groucho in his old age in a TV interview (it may have been on the Dick Cavett Show) said that Chico was the one who always "got the girl" - in other words, the ladies' man of the brothers.

In addition to Matthew's keen analysis of how much the Marxes' kind of humour had become familiar to audiences by the time of their « decline », I would also draw attention to which years those were: 1939 ( _At The Circus_ ) to 1941 ( _The Big Store_ ). What's changed in the world? Well, there's a massive war going on. And it's looking less and less like America is going to be spared. So of course depression-era petty thievery looks less amusing. And we're going to fixate on what is sentimental and pure and good. Of course the entertainment of the time wants to _help-a those kids._ Their next film, _A Night In Casablanca,_ comes after the war, in 1946. And it's a return to form the public seems to be in the mood for. If the remaining brothers hadn't been 56, 58, and 59 by that time - and if Groucho hadn't been itching for a solo career - then who knows what goonery the brothers might have got up to in '47, '48, and '49?

Of The I-Sing... Of The I-Ching? No no no... Of The Icing? _(...)_ Oh! Of *_THEE_* (comma) I Sing. 😁

Groucho,Gummo,Harpo,Zeppo and Chico who else were there?

You guys really geared me up to hate this, but when curiosity got the better of me, I somehow didn't. Oh, I'm not saying it's a great film. Or even a good one. What's most irritating is that you can feel its potential to be a good one constantly getting ruined by the director... Messing up the timing of every joke and story beat. Depriving every scene of snap, and spunk, and menace. Getting us two thirds of the way towards actually caring about the characters, before bailing on them with an aloof shrug. Trashing a golden opportunity to have Groucho and Marilyn swap innuendos. And slipping just shy of the mark on the Fleischer Studios ending this film clearly wanted. On the other hand, the music and dance numbers are pretty magnificent... If only they'd had anything to do with the plot.

On Animal Crackers, why the jump cut at 1:26 (Zeppo)?

Correct me if I'm wrong, but in the contract scene, the bartender is imaginary, right? There's not going to be a bartender backstage at an opera house.

"I like to hear the little bell ring." What's that from?

les Marxs Brothers ne m on jamai fait rire .

Saw “Our (Almost Completely True) Love Story." Perhaps women might consider that at a certain point, playing hard to get loses your charm. Like after 50.

Like Heidi's new end announcement!

Lunt and Fontanne did many plays together. One night, while performing in a comedy, Lunt got a huge laugh when his character asked for a cup of tea. The next night, he said the line more pointedly, and the laugh got even bigger. The following week, he came offstage feeling thrown because the laugh didn’t happen where he expected. He asked Fontanne what happened, and she said “The scene is you asking for tea.” He said, “I know, but the laugh was there yesterday.” She responded, “Darling, don’t ask for the laugh. Just ask for the tea.”

OMG!! A bonus podcast-bring your dog around, and I'll give him a bonus too!

ua-cam.com/video/p6wqM-A8P70/v-deo.html

If you're looking for new thrills, it's fun to watch Millennials seeing the Marx Brothers for the first time. It's like seeing them for the first time yourself, all over again.