The Marx Brothers
- Actor
- Soundtrack
The zaniest of all madcap comedy teams were the Marx Brothers, namely Groucho (aka Julius Henry), Chico (aka Leonard), and Harpo (aka Adolph). There were also Zeppo (aka Herbert) -- who featured in their early comedies as a straight man and later became a theatrical agent -- and Gummo (aka Milton), who eschewed the entertainment industry for a career in business. Though the Marxes were born in New York, their father Simon (nicknamed 'Frenchie') originally hailed from Germany. He was a clothing cutter, who (according to Groucho) had lofty aspirations of becoming a tailor. He later changed his name to Sam. Their mother came from Alsace-Lorraine and was a noted beauty named Minnie Schoenberg. The brothers were raised in the Jewish faith and grew up in a poor Manhattan neighbourhood of mostly Italian and German immigrants on East 93rd Street.
Groucho Marx was the first to enter show business as a boy soprano with the Gus Edwards show 'Boys and Girls'. His first 'proper job' was on Coney Island, singing a song while sitting on a keg of beer. This earned him a dollar. Chico Marx became a piano salesman at Shapiro and Bernstein. In 1908, Minnie, whose parents had once operated a travelling theatrical troupe, organised Groucho, Harpo Marx, Gummo Marx and a kid named Lou Levy into a musical act on vaudeville. They became known as the Four Nightingales. With further additions, this expanded into the Six Mascots by 1912. The Marxe's uncle, a well-established German-born comic and vaudevillian named Al Shean, began to refine the show business personae of the brothers and also contributed to writing their first successful skit. Groucho now started walking with a loping stoop and became verbose. Harpo donned a red wig and became a mute. Chico wore a pointy hat and adopted an Italian accent. Their growing success on the vaudeville circuit led to a sojourn in England in the early 20s where they appeared in a musical revue entitled On the Balcony. In 1924, Groucho, Harpo, Chico and Zeppo achieved their first major breakthrough on Broadway in the comedy musical I'll Say She Is. Groucho, playing Napoleon Bonaparte, sported his painted on moustache for the first time on the big stage (the cigar came later). In 1925, the Marxes headlined with their own material in The Cocoanuts which later also became their first talking picture.
The brothers (after 1933 minus straight man Zeppo Marx) went on to star in another dozen motion pictures. These included Animal Crackers (1930), Monkey Business (1931), Horse Feathers (1932) and Duck Soup (1933) (for Paramount) and Một Đêm ở Nhà Hát (1935),Một Ngày Đua Ngựa (1937) (arguably their best), At the Circus (1939), Go West (1940) and The Big Store (1941) (for MGM). By the early 30s, their on- screen characters had become fully-fledged. Few directors could fully contain (or control) them, though some did better than others. Groucho pretty much dominated (and chewed) the scene as the garrulous master of barbed insults and double entendres (he also wrote or co-wrote most of the gags and one-liners). His characters had memorable names like Hugo Z. Hackenbush, J. Cheever Loophole and Rufus T. Firefly. Chico was slow-witted and somewhat shady, playing the piano with his inimitable style during musical interludes. Finally, child-like Harpo, eating plates, drinking ink and chasing girls (and, of course, playing the harp). Matronly Margaret Dumont, often on the receiving end of Groucho's jokes, remained mostly stoic, never quite 'getting it'.
Their uniquely anarchic style of comedy has remained popular to this day, neatly summed up by Fiorello (Chico) pointing out to Otis P. Driftwood (Groucho) in A Day at the Races that in a Marx Brothers contract "There ain't no Sanity Clause".
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Groucho Marx was the first to enter show business as a boy soprano with the Gus Edwards show 'Boys and Girls'. His first 'proper job' was on Coney Island, singing a song while sitting on a keg of beer. This earned him a dollar. Chico Marx became a piano salesman at Shapiro and Bernstein. In 1908, Minnie, whose parents had once operated a travelling theatrical troupe, organised Groucho, Harpo Marx, Gummo Marx and a kid named Lou Levy into a musical act on vaudeville. They became known as the Four Nightingales. With further additions, this expanded into the Six Mascots by 1912. The Marxe's uncle, a well-established German-born comic and vaudevillian named Al Shean, began to refine the show business personae of the brothers and also contributed to writing their first successful skit. Groucho now started walking with a loping stoop and became verbose. Harpo donned a red wig and became a mute. Chico wore a pointy hat and adopted an Italian accent. Their growing success on the vaudeville circuit led to a sojourn in England in the early 20s where they appeared in a musical revue entitled On the Balcony. In 1924, Groucho, Harpo, Chico and Zeppo achieved their first major breakthrough on Broadway in the comedy musical I'll Say She Is. Groucho, playing Napoleon Bonaparte, sported his painted on moustache for the first time on the big stage (the cigar came later). In 1925, the Marxes headlined with their own material in The Cocoanuts which later also became their first talking picture.
The brothers (after 1933 minus straight man Zeppo Marx) went on to star in another dozen motion pictures. These included Animal Crackers (1930), Monkey Business (1931), Horse Feathers (1932) and Duck Soup (1933) (for Paramount) and Một Đêm ở Nhà Hát (1935),Một Ngày Đua Ngựa (1937) (arguably their best), At the Circus (1939), Go West (1940) and The Big Store (1941) (for MGM). By the early 30s, their on- screen characters had become fully-fledged. Few directors could fully contain (or control) them, though some did better than others. Groucho pretty much dominated (and chewed) the scene as the garrulous master of barbed insults and double entendres (he also wrote or co-wrote most of the gags and one-liners). His characters had memorable names like Hugo Z. Hackenbush, J. Cheever Loophole and Rufus T. Firefly. Chico was slow-witted and somewhat shady, playing the piano with his inimitable style during musical interludes. Finally, child-like Harpo, eating plates, drinking ink and chasing girls (and, of course, playing the harp). Matronly Margaret Dumont, often on the receiving end of Groucho's jokes, remained mostly stoic, never quite 'getting it'.
Their uniquely anarchic style of comedy has remained popular to this day, neatly summed up by Fiorello (Chico) pointing out to Otis P. Driftwood (Groucho) in A Day at the Races that in a Marx Brothers contract "There ain't no Sanity Clause".
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