Following Up…

I have many messages this morning arguing whether that's Zeppo playing Groucho in the Animal Crackers clip. This may well be one of those "we'll never know for sure" things and no one writing me seems to have anything more to go on except whether they think it sounds like Groucho or not. My view is, like I said, I think it's Zeppo but it wouldn't shock me if it was Groucho.

Buzz Dixon makes an interesting point to me in an e-mail. The transition on American Bandstand from kids dancing like they did when not on TV to kids performing for the camera may not have had that much to do with music videos. The kids on Bandstand probably picked that up from watching the teens who danced on Soul Train.

Dick Clark had what I guess was a mixed reaction to that syndicated series. You know how people will say something as a joke but you get the feeling the joke reflects something they really feel but don't want to admit? Dick would joke that Don Cornelius (host/creator of Soul Train) "stole everything from me including my initials." Dick didn't think he really owned the idea of a teen dance party show but he thought they were all sold by somebody saying, "Hey, let's imitate Dick Clark's show." I don't think what he was really sore at the imitators for, as he saw it, ripping him off. I think he was sore at himself for not thinking to market a black version of Bandstand before Soul Train came along.

One of the projects I did with Dick was a short-lived series for ABC that was kinda like Laugh-In but without the success. It was called The Half-Hour Comedy Hour, not to be confused with a couple of other shows with similar names…or the same one. Dick was the producer but he kept turning up in sketches, including one where Arsenio Hall played Don Cornelius. In it, Dick came on at the end and hit "Don" with a pie…and I recall him enjoying that a lot. An awful lot.

From the E-Mailbag…

Justin Mory writes…

Regarding facts the late actor Robert Heyges had reported wrong on his website about the Marx Brothers you wrote that Chico and Groucho never exchanged roles when performing on Broadway. But what I'm wondering is if it's true that Zeppo understudied Groucho's roles and filled-in when need arose? I'm thinking specifically of a scene in the movie version of Animal Crackers that, legend has it, has Zeppo performing as Groucho. Is it in fact Zeppo, and did he ever have occasion to impersonate Chico or Harpo?

When the Marx Brothers were on stage, Zeppo understudied all his brothers. He couldn't play the piano like Chico and he couldn't play the harp like Harpo but he apparently could provide a reasonable facsimile of everything else his three performing brothers did. So if one of them was out, Zeppo went on in his place and a member of the chorus filled in for Zeppo. It is said that after Groucho missed an entire week of one play due to illness, he watched at least one performance with Zeppo from out front and remarked, "Well, it looks like I'm not needed." Whether Zeppo was that good or Groucho was just being nice to his brother is open to speculation.

Regarding this scene in the film of Animal Crackers

Legend has it that's Zeppo playing Groucho's role in the scene where the lights are dim. Is it? I wouldn't be shocked to find out it was the real thing but I've long assumed that yes, that's Zeppo. The voice is just far enough off Groucho's to make that believable.

A bit less believable is the way it's reported, which is that Groucho was ill one day so Zeppo stepped into the job. That's possible but it is quite a coincidence that Groucho should be out the day they had to film a scene in the dark. We'll probably never know for sure but I suspect Groucho was off in his dressing room reading a book when this was shot. I'm thinking it was just an inside joke to deploy Zeppo in the one scene in the movie where he could have pulled off an undetectable impersonation. If Groucho had been too sick to work that day, they probably would have shut down the company until he was better.

There was however a less arguable example of Groucho impersonation a few years later when the Brothers were working for MGM. They were about to go on the road with a touring show to test some of the comedy scenes in Go West, the next film they were to film. Publicity photos were needed and Groucho was for some reason unavailable…so Irving Brecher, who wrote Go West, climbed into a Groucho suit and posed with Chico and Harpo. Apparently, no one noticed that Groucho had somehow gotten 24 years younger. Too bad Frank Ferrante wasn't around in those days…

Groucho in Concert

Dick Cavett writes about the night of May 6, 1972 when Groucho Marx appeared at Carnegie Hall in New York.  Most of the article is excerpted from the columnist's book, Eye on Cavett, a fine volume that is long outta-print but worth tracking down.

After the concert, a two-record set was issued called An Evening With Groucho which purports to be the audio from that performance.  I am told it is only partially from the Carnegie Hall show and that a lot of the material on the album, perhaps the majority, was taken from a "warm-up" performance that Groucho gave at Iowa State University before taking the show to New York. The player below will allow you to listen to the record in its entirety. There are arrow controls there that will allow you to skip ahead or backwards and you may want to know that the first cut is an overture played by a then-unknown pianist named Marvin Hamlisch, the second cut is Dick Cavett introducing Groucho and the third cut is Groucho's entrance plus a song in which he is joined by Erin Fleming. After that, the cuts are anecdotes and the occasional song…

Frankly, on the record, he doesn't sound as bad to me as Cavett's article makes him out to be. Perhaps this is evidence that much of what we hear on it is from Iowa. Or maybe I feel that way because I attended Groucho's subsequent Los Angeles concert on December 11, 1972 where he really was in such bad shape he shouldn't have gone on. Compared to what we heard that night, the record sounds pretty decent for a man of his age. I wrote about it in this article…and if you go read that piece, don't stop there. Click the link at the bottom of the page and go on to the second part.

Groucho gave one other concert — after New York but before Los Angeles. It was on August 11, 1972 at the Masonic Auditorium in San Francisco and it was apparently the best of the four. Two weeks after, he suffered a stroke which explains why the L.A. engagement was so painful.

As far as I know, the only record of the San Francisco appearance is a partial audio recording that has a few bad internal edits and a number of defects. Still, the clear portions sound pretty good. You can listen to about a half-hour from the show on a player over on this site. (And can you believe the prices in the above ad? $6.50 for the best seat to see Groucho Marx? Even for '72, that was darn near nothing.)

Today's Audio Link

You may enjoy this. In 1965, Groucho Marx did a series of TV shows in England and to kick off the enterprise, he did a press conference. Here's the audio to about a half-hour of remarks from that press conference…

Go Read It!

Dick Cavett discusses two books by two friends of mine, both about Groucho.

The Last of Hackenbush

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The last few years of his life, Groucho Marx was "involved" with a woman named Erin Fleming. I chose the word "involved" because it's still a difficult relationship to describe. A TV producer named Jerry Davis sent her over because his friend Groucho needed someone to run errands and help manage his home and life. I knew Jerry. He helped Dennis Palumbo and me get some of our first writing jobs and he once told me that referring Fleming to Marx was "the worst thing I ever did in my life." But even he acknowledged that it was not as cut and dried as that. She took over Groucho's life to the point where there was talk of her either marrying him or being adopted by him as a daughter. There are tales of her abusing him verbally and even physically, and after his death she lost a half-million dollar lawsuit that asserted she'd looted the Marx bank accounts. On the other hand, he did say on several occasions that he loved her and couldn't imagine his life without her…and even her detractors acknowledge some ways in which she kept him as "alive" as a man his age could be.

My own view is based on a lot of reading and on two brief glimpses of them in person and in action. It's that she was a failed actress who seized on proximity to Groucho as means of access to a part of Hollywood to which she'd otherwise never have been admitted. She devoted much of her life for several years to him and obviously thought she was therefore entitled to every reward she could reap from their association. Was she good for him? That one's hard to answer. She did good and bad things for and to him but life is often a question of alternatives. I would have a hard time arguing that Groucho would have been better off if he'd never met her; not unless there was evidence that a saner, benevolent person would have come along who would have done the good things for him without the bad.

(I stuck in "saner" because there's no doubt she was seriously deficient in that area…and I don't mean she was ha-ha wacky. I mean she was mentally ill…and getting iller.)

My "take" on it all is largely from afar. Last night, I went up to the Hollywood Heritage Museum and heard a talk by my buddy Steve Stoliar, whose vantage point was from anear. Steve was hired by Erin to handle Groucho's fan mail and other archival duties. He was in that house, right there at Ground Zero for several years and his opinion from Erin doesn't differ a whole lot from mine. This is because I got a lot of mine from his fine book on his years with Groucho. He certainly agrees with the "crazy" part, having been subjected to many a screaming fit from Erin and to involvement in some of the attempts to "save" Groucho from her. Steve was 18-20 in those years and there wasn't much he or anyone could do but Groucho was fortunate to have him on the premises.

Last night, Steve talked about the experience and about Erin and he showed some rare video of which he apparently has the only copies. We saw some of Groucho's appearance at an event at U.C.L.A. in the early seventies. Steve spearheaded a drive to get the Marx Brothers movie Animal Crackers released again after legal complications had made it unavailable. Groucho and Erin went up to U.C.L.A., where Steve's campaign was based, and there's this amazing footage of Marx surrounded by and answering questions from college students, Steve included. There was also video Steve and a friend shot in the Marx home, including Groucho singing. What attendees saw last night may have been Groucho's last performance of "Lydia the Tattooed Lady" in front of any camera.

And there were other historical treasures, including a Ted Koppel interview of Fleming the night of the day she lost that lawsuit. If anyone ever doubted she was out of her mind, this video settles it. She babbles on with disconnected answers, all the time having a stare on her face that…well, this is not a nice way to put it but it's accurate. You know that glazed stare some female politicians get when on TV? If Nancy Pelosi's rates a 6 on the crazed scale and Michele Bachmann is a 9, Erin Fleming's on this tape is about a 23.

The hall last evening was packed with Marx Brothers fans and historians. If you want to know about Groucho — and especially about that end of his life — Steve's the guy. He's also pretty funny, which is not always the case with folks who write or talk about great comedians.

Now, before you write to ask: Steve has one more talk scheduled — April 5 over at U.S.C. — and I suggest that film societies, universities and other venues that book such speakers start inviting this guy. He can be reached via his website (where you can also order his book and get it autographed) and that may be your best bet to hear him and maybe see some of this video footage he has. Some of it is very personal and needs to be seen in the context of his presentation so he has no plans to make it available anywhere. It is not and never will be on YouTube.

I'm swamped with work before I flee to WonderCon but I'm glad I made time last night to hear Steve talk. I hope you someday have the opportunity.

A Night (or Four) at the Egyptian

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Those of you in L.A. may want to take note: The Egyptian Theater, under the auspices of the American Cinematheque, is about to show a batch of Marx Brothers movies the way God and Irving Thalberg intended they be viewed: With an audience. Sure, you've got them all on DVD. Big deal. I've got them all on DVD, too. But though they're fun to watch that way, it ain't the same. Some movies really need to be seen in a big group and Marx Brothers movies are high on that list. (The most extreme example of that is Beyond the Valley of the Dolls. It's a pretty boring, lame movie if you view it alone or even with a small contingent. On the big screen in a packed house, it becomes a very different — and pretty darn good — cinematic experience.)

This L.A. Times article quotes two friends of mine who are devout Marxists of the Groucho kind. Robert Bader is fonder than I am of the first two Paramount films, The Cocoanuts and Animal Crackers. I think they were harmed severely by the constrictions of early "talkie" technology. They have their moments (so do At the Circus and Go West) but I favor Monkey Business through A Day at the Races. I will set Bader straight the next time I see him.

Steve Stoliar, also mentioned in the article, is the gent I've mentioned here who worked as Groucho's aide/secretary for the last few years of Doc Hackenbush's life. Steve will be signing his book (oft-plugged on this site) one evening at the Marxfest and also at an upcoming event at the Hollywood Heritage Museum. He'll be talking about his experiences working for The Man and showing rare, you've-never-seen-it footage of Groucho in his later years. It's March 14 and if you're thinking of going, order tix now. The place ain't that big and they may already be sold out.

Inside Marx Manor

Back in this here post, I said complimentary things about Raised Eyebrows, a book by a gent named Steve Stoliar. Steve worked for several years for Dr. Hugo Z. Hackenbush, more commonly known as Julius H. Marx, even more commonly known as Groucho. He was a witness to the controversial craziness that was Erin Fleming, the woman who invaded Groucho's last years. In his book (which I highly recommended) Steve told the story in colorful, apparently-honest detail. You can order a copy of it from Amazon here or get it autographed by and from the author here.

And you can hear Steve discuss those years and his own colorful life today on Stu's Show, my favorite Internet Radio Station. Stu Shostak does his show live at 4 PM Pacific Time which is 7 PM on the East Coast…and you can probably figure out the time it's on where you are. It runs two hours with occasional overages and it's a lot of fun. Hear it live and free at the appointed hour at the Stu's Show website. Or download it later there for a measly 99 cents. Either way, I'm sure you're going to like what you hear and hear what you like.

Today's Video Link

This arguably needs a Spoiler Alert. It's the last 25 seconds of "The Incredible Jewel Robbery," a half-hour episode of an anthology show called General Electric Theater. It was broadcast on March 8, 1959 on CBS and it represents the last real time the main three Marx Brothers appeared together on-screen. Incredibly, it was also the only time they all appeared together on any screen since A Night in Casablanca in 1946. In the interim years, there were a couple of projects in which all appeared (Love Happy, The Story of Mankind) but not in the same scenes.

The 1959 show was a funny caper film done almost completely in pantomime and starring Harpo and Chico as hapless crooks who disguise themselves as cops. Groucho, entering in the clip below for a surprise cameo, had the only line. (The man you'll see accusing them is, by the way, Benny Rubin who had a habit of appearing with great comedians and also being one himself.)

Shortly after this, the three brothers began filming on a TV pilot called Deputy Seraph in which they played angels. Halfway through shooting, production was halted because Chico was unable to perform. He had arteriosclerosis as was sadly evident in the few TV appearances he made before passing away on October 11, 1961. By that time, everyone had long since given up on Deputy Seraph. So since it never aired, these are the final moments of the Brothers Marx on-screen…

Book Marx

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The man at right in the above photo is, as you've probably guessed, the real Frank Ferrante…Groucho Marx. Like at least a third of the people who'll read this, I've been fascinated by Groucho Marx for years and have tried to see everything he ever did and read every book about him. That can be tough because there have been some very bad books about Groucho.

The man at left in the photo is Steve Stoliar. He didn't write one of those bad books about Groucho. He wrote a very good one called Raised Eyebrows. It's subtitle is My Years Inside Groucho's House…and Steve was not a cat burglar or the guy who rented the place after Groucho died. He was a kid hired to archive Groucho's crates of souvenirs and memorabilia, and as such was a key witness to the last years of Julius H. Marx. I had a few brief first-hand glimpses into those years and Groucho's relationship with the troubled and controversial Erin Fleming, the lady who managed his last years and who seemed to have been more caretaker than caregiver. I envy Steve his proximity to the guy above in the beret and we should be grateful for all he did for Dr. Hackenbush…but I sure don't envy him being around That Woman.

Fortunately for us, Steve is a writer…a darn good one, too. His book recounts his story in a non-sensationalized manner and there isn't a word in it that seems false or self-serving. A case can be made that Ms. Fleming was good for Groucho…or perhaps good until the final year or so. Another person I know who was around some of that thinks she was not good for Groucho but as good as he was likely to get, given the way he'd alienated so many around him, along with certain troubles within his family. You can make up your own mind about all that or do like me and find your own way to view the ambiguity. Above and beyond the Marxian lore in this book, there is much to think about regarding old age and how folks who get there can and should be taken care of.

How Stoliar got into Groucho's home is also a good story. Back in the seventies, one could often go see Marx Brothers movies in local theaters…which was a much better way to see them than at home, no matter how big your flat screen is. I took dates to see A Night at the Opera and A Day at the Races and Duck Soup and Horse Feathers — all the good ones except for Animal Crackers, which was then unavailable due to a rights snag. But I eventually got to seeing Animal Crackers. A small storefront theater in Westwood ran a 16mm print one night, advertising "A Marx Brothers Movie" but not the title. I found out which one it would be and rounded up a posse of my friends…and we went, all the time fearing a police raid. We also thought this might be the only chance we would ever have in our lives to see that film.

Thanks to Steve Stoliar, it wasn't. He was attending UCLA around that time and he launched a campaign on campus. The rhetoric was not unlike urging some foreign government to free a political prisoner but in this case, it was urging Universal Pictures to free Animal Crackers…and sure enough, it did result in a release. It also resulted in Steve meeting Groucho and Erin and getting that low-pay, high-prestige job. But you'll read all about it when you read his book, which I highly recommend. I liked it in its original hardcover when it came out some time ago. I like it even more in its new, expanded paperback edition which sports a great Drew Friedman cover and moves the story forward a few more years since the first pressing. Here is an Amazon link to order a copy. Please do. I've never met Steve except via Facebooking but we've agreed to have lunch soon. If you folks buy enough copies because of this plug, maybe he'll feel grateful enough to pick up the check.

Today's Video Link

This is more of an audio link but why quibble? It's a 1953 explanation of how to survive an atom bomb blast and it comes to you from just the man you'd figure would know all about such things, Groucho Marx…

Recommended Listening

So, I'm guessing you're a fan of Monty Python's Life of Brian, right? Yeah, well it figures. You come to this site. You must have something of my tastes. Well anyway, you might enjoy listening to this. It's an hour-long documentary on BBC Radio entitled He's Not the Messiah, He's a Very Naughty Boy. It's all about the making of that fine film.

Give a listen and do it quick. The link expires in less than a week. Oh, and don't thank me for this. Thank Greg Erhbar. He's the one who told me about it. He also told me about BBC Radio offering up their re-creation of the radio series starring Groucho and Chico Marx, Flywheel, Shyster and Flywheel. You can listen to episodes of that here. And while you're over there, go here to catch installments of Groucho Was My Father, the audio biography of Miriam Marx.

From the E-Mailbag…

Paul Castiglia writes to say…well, here. I'll cut 'n' paste and let you read it for yourself…

I'm not one to nitpick your classic comedy posts — you know more about the subject than I could ever hope to learn — but is it accurate to state that Jack Benny's film The Horn Blows at Midnight features "Margaret Dumont in a rare non-Marx appearance" when she also appeared in Kentucky Kernels and High Flyers with Wheeler & Woolsey, The Life of the Party with Joe Penner, Never Give a Sucker an Even Break with W.C. Fields, The Dancing Masters with Laurel & Hardy, Up in Arms with Danny Kaye, Seven Days Ashore with Brown & Carney and Little Giant with Abbott & Costello?

Of course, she made several other movies but my point is that there's always been this idea perpetuated, this misconception people have that Margaret Dumont was not only exclusively a foil for the Marx Brothers but in some folks' minds made nothing but Marx Brothers movies. And I think that gives short-shrift to her because obviously she was deemed worthy enough to co-star with Fields, Kaye, Laurel & Hardy, Abbott & Costello and even Wheeler & Woolsey whose names may mean zilch to most people today but as you know, being mega-successful at the box office, they were nothing to sneeze at, either.

I know you didn't mean it intentionally, but my thought is that when it comes to Dumont playing foil to classic comedians she had several opportunities beyond co-starring with the Marxes, so those appearances can't really be called "rare." Just my two cents.

Well, if I were Groucho, I'd probably say, "If you don't like 'rare,' how about 'medium well?' How about 'well-done with a side of gravy?'" But okay, you have a point. The lady did do a little more in her career than act clueless about Marx double entendres.

Here's kind of an interesting thing to think about. Ms. Dumont was so perfect in the role of a high-society dowager that directors and casting folks used to refer to that kind of character as "a Margaret Dumont role." When one turned up in a script, they'd describe it thusly and maybe try to hire her. I'll bet there were other actresses who were known for playing "Margaret Dumont roles" when she either wasn't available or if a director feared it was too obvious to book her. There were a lot of character actors back then who seemed synonymous with a certain on-screen function…like Jack Norton (who always played a drunk) or Fritz Feld (who always played a waiter) or Iris Adrian (who always played someone's cheap, loudmouthed girl friend).

So is there anyone like that today? Anyone who's so identified as a certain "type" that they're the obvious casting — or at least, model — for a certain kind of role? I can't think of anyone.

Breaking Gorilla Suit News

Here's great news. May 4, you'll able to purchase The Marx Brothers Collection, a 5-DVD set featuring seven whole Marx Brothers movies…A Night at the Opera, A Day at the Races, At The Circus, Go West, Room Service, The Big Store and A Night in Casablanca. There are new "Making of…" documentaries for the first two, plus trailers and classic cartoons and shorts from the same year as each movie. List price will be sixty bucks, so you'll probably be able to pick it up for less than fifty…and I'm told these are new, wonderful transfers. Opera, Races and Casablanca will also be offered as individual releases. I'll post a link on this site when it's possible to order this.

For those of you scoring at home: This will mean that Love Happy is the only Marx Brothers movie that has never been released on DVD. This is not a huge loss since Love Happy is a Marx Brothers movie the way Sbarro's is an Italian restaurant.

The first five Marx movies (Cocoanuts, Animal Crackers, Monkey Business, Horse Feathers and Duck Soup) are controlled by Universal Home Video which released them some time ago but has allowed them to go outta-print. If you look around, you may still be able to find them…but you may not want to try too hard. Though Universal says they have no current plans for a reissue, they're doing a lot of boxed sets of old comedy series these days and since the Marx films are already transferred and popular, it's likely we will soon see them out in a collection. In the meantime, if you crave more Marx humor, I would like to again recommend the recently-released collection of You Bet Your Life: The Lost Episodes. It really is a marvelous package of eighteen episodes plus enough Groucho extras to make anyone's eyebrows go up and down. Click right here to order a copy if you don't have one. There are certain DVDs you love because someone did a decent transfer of a great piece of film and others that go beyond that, adding in wonderful bonuses and digging up rare material. This one's the latter and it sounds like the 5-DVD set will be, as well.

You will especially want the 5-DVD set because it includes At The Circus, which has Charlie Gemora in not one but two different gorilla suits. They had to change costumes in mid-shooting so the gorilla's appearance changes but it's reportedly Charlie in both skins. Name me an actor today who can perform so effectively in a gorilla costume. (Okay, besides Robert Duvall…)