Marx Brothers

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The Marx Brothers were a team of sibling comedians that appeared in vaudeville, stage plays, film, and television.

Born in New York City, the Marx Brothers were the sons of Jewish immigrants from different parts of Germany (Plattdeutsch was the boys' first language). Their mother, Minnie Schönberg, hailed from Dornum in East Frisia, Germany, and their father Simon "Frenchie" Marrix (whose name was anglicized to Sam Marx) from Alsace, now a part of France. The family lived in the Upper East Side of New York City between the Irish, German and Italian Quarters.

Contents 1 The Marx brothers 2 Stage beginnings 2.1 From singing to comedy 3 Origin of the stage names 4 Hollywood 5 Filmography 5.1 Characters 6 Trivia 7 Influences 8 See also 9 References 10 External links

[edit] The Marx brothers

All the brothers and their real names were as follows:

Stage name	Actual name	Born	Died
	Manfred	January 1886	July 17, 1886 (died in infancy)
Chico	Leonard	March 22, 1887	October 11, 1961
Harpo	Adolph (after 1911: Arthur)	November 23, 1888	September 28, 1964
Groucho	Julius Henry	October 2, 1890	August 19, 1977
Gummo	Milton	October 23, 1892	April 21, 1977
Zeppo	Herbert	February 25, 1901	November 30, 1979

[edit] Stage beginnings

The brothers were born to a family of artists, and their musical talent was encouraged from an early age. Harpo was hopelessly untalented on the guitar and piano (he boasts in his autobiography^[1] that he only knew two songs, and that he could only play them with one finger!); however, he became a dedicated harpist, from which he derived his nickname, and which he often played on film. Chico was an excellent and histrionic pianist, and Groucho played the guitar and sang.

They got their start in vaudeville, where their uncle Albert Schönberg was performing as Al Shean of Gallagher and Shean. Groucho's debut was in 1905, predominantly as a singer. By 1907 he and Gummo were singing together as two-thirds of The Three Nightingales with Mabel O'Donnell. The next year, Harpo became the fourth Nightingale. By 1910, the group was expanded to include their mother and their Aunt Hannah, and the troupe was renamed The Six Mascots.

Another famous relative joined the family years later, when Jack Benny married Sadye Marks (aka Mary Livingstone), their cousin. Indeed, Zeppo had introduced Jack to Sadye.

[edit] From singing to comedy

One evening in 1912, a performance at the Opera House in Nacogdoches, Texas was interrupted by shouts from outside about a runaway mule. The audience hurried outside to see what was happening (thinking a runaway mule was better entertainment). When they returned, Groucho, infuriated by the interruption, made snide comments about the people, such as "Nacogdoches is full of roaches" and "The jackass is the flower of Tex-ass". But instead of becoming angry, the audience laughed. Afterward, the family began to consider the possibility that they had potential as a comic troupe.

Slowly, the act evolved from singing with some incidental comedy to a comedy with some music, like their sketch set in a schoolroom ("Fun in Hi Skule"), featuring Groucho as a German-accented teacher presiding over a classroom which included students Harpo, Gummo and, by 1912, Chico. The last version of the school act, titled Home Again, was written by Al Shean. Around this time, Gummo left the group to fight in World War I ("Anything is better than being an actor!"); Zeppo would replace him for their final vaudeville years, through their leap to Broadway, and the subsequent Paramount pictures.

During World War I, anti-German sentiments grew, and the family tried to hide their German origin. Harpo changed his real first name from Adolph to Arthur, and Groucho discontinued his "German" stage personality.

By this time the brothers, now "The Four Marx Brothers", had begun to incorporate their unique brand of comedy into their act and to develop their characters. It has been noted in a few of both Groucho and Harpo's memoirs that their now famous on-stage personas were originally created by Al Shean. Groucho began to wear his trademark greasepaint moustache and to use a stooped walk, Harpo began to wear a red fright wig, carried a taxi-cab horn and never spoke, Chico started to talk in a fake Italian accent, developed off-stage to deal with neighbourhood toughs, and Zeppo adopted the role of the straight man. The on-stage personalities of Groucho, Chico, and Harpo were said to have been based on their actual traits (although, in real life, Harpo could talk). Zeppo, on the other hand, was considered the funniest offstage brother, despite his limited, straight stage roles. Being the youngest and having grown up watching his brothers, he was also the one who could fill in for, and nearly perfectly imitate, the others when illness kept them from a performance. "He was so good as Captain Spaulding [in Animal Crackers] that I would have let him play the part indefinitely, if they had allowed me to smoke in the audience", Groucho recalled.

In the 1920s the Marx Brothers became one of America's favourite theatrical acts. With their sharp and bizarre sense of humour, they satirized institutions like high society, and human hypocrisy. In addition, they became famous for their improvisational comedy in their free form scenarios. A famous early example was when Harpo instructed a chorus girl to run across the stage in front of Groucho during his act with him chasing to see if Groucho would be thrown off. However to the audience's delight, Groucho merely reacted with an improvised joke of calmly checking his watch and commenting: "First time I ever saw a taxi hail a passenger", and, when Harpo chased the girl back the other direction, "You can always set your watch by the 9:20".

Under Chico's management and with Groucho's creative direction, the brothers' vaudeville act had become successful enough to make them stars on Broadway, first with a musical revue, I'll Say She Is (1924–1925), followed by two musical comedies, The Cocoanuts (1925–1926) and Animal Crackers (1928–1929). Playwright George S. Kaufman worked on the latter two shows and helped to sharpen the Brothers' characterizations.

[edit] Origin of the stage names

The stage names for four of the five brothers were coined by monologist Art Fisher^[2] during a poker game in Galesburg, Illinois, based both on the brothers' personalities and Gus Mager's Knocko the Monk, a popular comic strip of the day which included a supporting character named "Groucho". The reasons behind Chico's and Harpo's are undisputed, and Gummo's is fairly well established, while Groucho's and Zeppo's are far less clear. Arthur was named Harpo because he played the harp, and Leonard named Chico (pronounced "Chick-o") after his affinity for the ladies ("chicks").

In his autobiography^[3], Harpo explains that Milton became Gummo because he crept about the theater like a gumshoe detective. Other sources report that Gummo was the family's hypochondriac, having been the sickliest of the brothers in childhood, and that he therefore wore rubber overshoes, also called galoshes or gumshoes, in all kinds of weather. However, since gumshoe detectives were named for the rubber overshoes, the two explanations apparently are minor variations on a definitively established theme.

The reason Julius was named Groucho is perhaps the most disputed. There are three major explanations:

• Julius' temperament. Maxine, Chico's daughter and Groucho's niece, said in the documentary The Unknown Marx Brothers that Julius was named "Groucho" simply because he was grouchy most or all of the time. Robert B. Weide, a director known for his knowledge of Marx Brothers history, said in Remarks On Marx, a documentary short included with the DVD of A Night at the Opera, that among the competing explanations he found this one the most believable.

• The grouch bag. This explanation appears in Harpo's biography, was voiced by Chico in a TV appearance included on The Unknown Marx Brothers, and also offered by George Fenneman, Groucho's sidekick on his TV game show, You Bet Your Life. A grouch bag was a small drawstring bag worn around the neck in which a traveler could keep money and other valuables so that it would be very difficult for anyone to steal them. Most of Groucho's friends and associates went on record publicly with their observations that Groucho was extremely stingy, especially after losing all his money in the 1929 stock market crash, so naming him for the grouch bag may have been a comment on this trait. Groucho, in chapter six of his first autobiography^[4], insisted that this was not the case:

I kept my money in a 'grouch bag.' This was a small chamois bag that actors used to wear around their neck to keep other hungry actors from pinching their dough. Naturally, you're going to think that's where I got my name from. But that's not so. Grouch bags were worn on manly chests long before there was a groucho.

The fact that Groucho claims he couldn't have been named for the grouch bag because grouch bags already existed is unsatisfying, to say the least. Perhaps it was a slip of the pen that was never caught.

• Groucho's explanation. Understandably dissatisfied with being described as perpetually grumpy or excessively stingy, Groucho himself insisted that he was named for a character in the comic strip, Knocko the Monk, which had inspired the craze for nicknames ending in O. And, in fact, there was a character in that strip named "Groucho." However, he is the only Marx or Marx associate who ever defended this theory, and as he is not an unbiased witness, few biographers take the claim seriously.

Herbert was not nicknamed by Art Fisher, as he did not join the act until Gummo had departed. As with Groucho, three explanations exist for Herbert's name, "Zeppo":

• Harpo's explanation. Harpo said in Harpo Speaks! that the brothers had named Herbert for Mr. Zippo, a chimpanzee that was part of another vaudeville performer's act. Herbert disliked the nickname, and when it came time for him to join the act, he put his foot down and refused to be named "Zippo," so the brothers compromised on Zeppo.

• Chico's explanation. Chico never wrote an autobiography, and gave fewer interviews than his brothers, but his daughter, Maxine, in The Unknown Marx Brothers related the story that when the Marx Brothers lived in Chicago, a popular style of humor was the "Zeke and Zeb" joke, which made fun of slow-witted Midwesterners in much the same way Boudreaux and Thibodeaux jokes mock cajuns, or Ole and Lena jokes mock Minnesotans. One day, as Chico returned home, he found the much younger Herbert sitting on the fence, and Herbert greeted him by saying "Hi, Zeke!" Chico responded with "Hi, Zeb!" and the name stuck. The brothers called Herbert "Zeb," and when he joined the act, they floated the idea of "Zebbo," eventually preferring "Zeppo."

• Groucho's explanation. In a tape-recorded interview excerpted on The Unknown Marx Brothers, Groucho said Zeppo was so named because he was born when the first zeppelins started crossing the ocean. The first zeppelin flew in July 1900, while Herbert was born seven months later in February 1901; the first transatlantic zeppelin flight did not happen until 1924, when Herbert was a young man.

Maxine Marx reported in The Unknown Marx Brothers that the brothers listed their real names (Julius, Leonard, Adolph, Milton and Herbert) on playbills and in programs, and only used the nicknames behind the scenes, until Alexander Woollcott overheard them calling one another by the nicknames and asked them why they used their own rather stiff and formal real names publicly when they had such wonderful nicknames as an alternative. They replied, "That wouldn't be dignified," which Woollcott answered with a belly laugh. Since Woollcott did not meet the Marx Brothers until the premiere of I'll Say She Is, which was their first Broadway show, this would mean that they used their real names throughout their vaudeville days, and that the name "Gummo" never appeared in print during his time in the act. Other sources report that the Marx Brothers did go by their nicknames during their vaudeville era, but briefly listed themselves by their given names when I'll Say She Is opened, because they were worried that a Broadway audience would reject a vaudeville act if they perceived anything as not classy.^[5]

[edit] Hollywood

The Marx Brothers' stage shows became popular just as Hollywood was making the change to "talkies". They struck a contract with Paramount and embarked on their career in films. Their first two released films (they had previously made — but not released — one short silent film titled Humor Risk) were adaptations of Broadway shows: The Cocoanuts (1929) and Animal Crackers (1930). Both were written by George S. Kaufman and Morrie Ryskind. Following these two feature-length films, they made a short film that was included in Paramount's twentieth anniversary documentary, The House That Shadows Built (1931), in which they adapted a scene from I'll Say She Is. Their third feature-length film, Monkey Business (1931), was their first that was not based on a stage production. Horse Feathers (1932), in which the brothers satirized the American College system and Prohibition, was their most popular film yet, and won them the cover of Time magazine. It included a running gag from their films where Harpo revealed having nearly everything in his coat. At various points in Horse Feathers Harpo pulls out of his coat: a wooden mallet, a fish, a coiled rope, a tie, a poster of a woman in her underwear, a cup of hot coffee, a sword; and, just after Groucho warns him that he "can't burn the candle at both ends," a candle burning at both ends. In another famous sketch, Harpo drops a full banquet's worth of silverware out of his sleeve; then takes scissors and cuts off a singer's dress, unhooking her bra and holding it up to show that it has three cups.

Their last Paramount film, Duck Soup (1933) — directed by the most highly regarded director they ever worked with, Leo McCarey — is now considered by many their finest: it is the only Marx Brothers film on the American Film Institute's "100 years ... 100 Movies" list. Common wisdom holds that the film failed, but this was actually incorrect. It did not do as well as Horse Feathers, but was the sixth-highest grosser of 1933. The film also led to a strange and funny feud between the Marxes and the village of Fredonia, New York. Freedonia, of course, was the name of the fictional country in Duck Soup, and the city fathers, who apparently saw no humor in that, wrote to Paramount and asked the studio to remove all references in the film to Freedonia because "it is hurting our town's image." Groucho fired back a sarcastic reply asking them to change the name of their town because "it's hurting our picture."

The Marx Brothers left Paramount because of disagreements over creative decisions and financial issues.

Tired of the unrewarding status of playing second (or fourth) banana to his elder brothers, Zeppo left the act to become an agent. He remained his brothers' agent for the remainder of their career as the Marx Bros, and went on to build one of the biggest talent agencies in Hollywood, helping the likes of Jack Benny and Lana Turner get their starts. Groucho and Chico did radio, and there was talk of returning to Broadway. At a bridge game with Chico, Irving Thalberg began discussing the possibility of the Marxes coming to Metro-Goldwyn-Mayer, and they signed, now known as "The Three Marx Brothers," or simply "The Marx Bros." Thalberg insisted on a strong story structure, unlike the free-for-all scripts at Paramount. In the rest of their films, their comedy would be interwoven with romantic plots and non-comic musical numbers while the targets of their mischief were largely confined to clear villains. While aficionados feel only their Paramount films represent what is considered their genius in its pure form, Groucho is on record disagreeing with this sentiment. In a June 13, 1969, interview with Dick Cavett, Groucho said the two movies made with Thalberg were the best they ever produced.

Before filming would commence on an upcoming picture, the Marx Brothers would often return to the vaudeville stage to try out material for the movie, working on comic timing and learning what earned a laugh and what didn't.

The first film that the brothers shot with Thalberg was A Night at the Opera (1935), a satire on the world of opera music, where the brothers help two young singers in love by throwing a production of Il Trovatore into chaos. The film (which includes a scene where they cram an amazing number of people into a tiny stateroom on a ship) was a great success, and for decades (until critics and fans took a second look at their Paramount films) was generally considered their best work. The film was a huge success, followed two years later by the even bigger hit A Day at the Races (1937), where the brothers caused mayhem in a sanitarium and at a horse race (this sequence includes Groucho and Chicos' famous "Tootsie Frootsie Ice Cream" sketch). However, during shooting in 1936, Thalberg died suddenly, and without him, the brothers didn't have an advocate at MGM.

After a short experience at RKO (Room Service, 1938), the Marx Brothers made three more films before leaving MGM, At the Circus (1939), Go West (1940), and The Big Store (1941). Prior to the release of "The Big Store" the team announced their retirement from the screen, but Chico was in dire financial straits and to help settle his gambling debts, the Marx Brothers made another two films together, A Night in Casablanca (1946) and Love Happy (1949), both of them released by United Artists.

Groucho and Chico appeared together briefly in a 1957 short film promoting the Saturday Evening Post entitled "Showdown at Ulcer Gulch," directed by animator Shamus Culhane, Chico's son-in-law. Then they worked together, but in different scenes, in The Story of Mankind (1957). In 1959, all three acted in a TV pilot, Deputy Seraph, to star Harpo and Chico as blundering angels; Groucho would appear in every third episode as their boss, the "Deputy Seraph" (A seraph is an angel). The pilot was never finished when it was discovered that Chico was seriously ill with arteriosclerosis and was uninsurable. He and Harpo did appear together in a half-hour film shot later that year, The Incredible Jewel Robbery, a pantomime show with the pair as would-be jewel thieves. Groucho made a brief appearance in the last scene.

From the 1940s onward, Chico and Harpo made nightclub and casino appearances, sometimes together. Groucho began a career as a radio and television entertainer. From 1947 to the early-1960s he was the host of the humorous quiz show You Bet Your Life (along with a money-bearing artificial duck). He was also an author; his writings include the autobiographical Groucho and Me (1959) and Memoirs of a Mangy Lover (1964).

According to an article in Newsweek printed September, 1947, Groucho, Harpo, Chico, and Zeppo all signed to appear as themselves in a biopic entitled The Life and Times of the Marx Brothers. In addition to being a non-fiction biography of the Marxes, the film would have also featured the brothers reenacting many of their previously unfilmed material from both their Vaudeville and Broadway eras. Had the film ever come into fruition, it would have been the first time the Brothers had appeared as a quartet since 1933. It is unknown how far the film was into pre-production, if at all, before it was canceled.

The 1957 television talk show Tonight! America After Dark, hosted by Jack Lescoulie, may supply the only public footage in which all five brothers appeared.

In 1970, the Four Marx Brothers had a brief reunion of sorts in the animated ABC television special The Mad, Mad, Mad Comedians, produced by Rankin-Bass animation (of Rudolph the Red-Nosed Reindeer fame). The special featured animated reworkings of various famous comedians' acts, including W.C. Fields, Jack Benny, George Burns, Henny Youngman, The Smothers Brothers, Flip Wilson, Phyllis Diller, Jack E. Leonard, George Jessel, and the Marx Brothers. Most of the comedians provided their own voices for their animated counterparts, except for W.C. Fields, Chico Marx (who had died), and Zeppo Marx (who left show business in 1933). Voice actor Paul Frees filled in for all three. The Marx Brothers' segment was a reworking of a scene from their Broadway play I'll Say She Is, a parody of Napoleon which Groucho considered among the Brothers' funniest routines. The sketch featured animated representations, if not the voices, of all four brothers. Romeo Muller is credited as having written special material for the show, but the script for the classic "Napoleon Scene" was probably supplied by Groucho.

On January 16, 1977, The Marx Brothers were inducted into the Motion Picture Hall of Fame.

Many TV shows and movies have used Marx Brothers references, such as multiple episodes of Disney's The Suite Life of Zack and Cody have similar jokes, too close to be coincidence. Animaniacs and Tiny Toons have also featured Marx Brothers jokes and skits. Although less focused than modern comedies, the best Marx Brothers' films have aged extremely well. Many film-goers consider films such as Duck Soup, Animal Crackers and Horse Feathers to be among the funniest movies ever made.

Also noteworthy is the fact that Harpo Marx appeared as himself in a sketch on "I Love Lucy" in which he and Lucille Ball reprised the mirror routine from "Duck Soup" with Lucy dressed up as Harpo.

[edit] Filmography

Films with the Four Marx Brothers:

• Humor Risk (1926), previewed once and never released; thought to be lost
• The Cocoanuts (1929), released by Paramount
• Animal Crackers (1930), released by Paramount
• The House That Shadows Built (1931), released by Paramount (short subject)
• Monkey Business (1931), released by Paramount
• Horse Feathers (1932), released by Paramount
• Duck Soup (1933), released by Paramount

Films with the three Marx Brothers (post-Zeppo):

• A Night at the Opera (1935), released by MGM
• A Day at the Races (1937), released by MGM
• Room Service (1938), released by RKO
• At the Circus (1939), released by MGM
• Go West (1940), released by MGM
• The Big Store (1941), released by MGM
• A Night in Casablanca (1946), released by United Artists
• Love Happy (1949), released by United Artists
• The Story of Mankind (1957), released by Warner Bros.

Solo endeavors:

• Groucho:
  • Copacabana (1947), released by United Artists
  • Double Dynamite (1951), released by RKO
  • A Girl in Every Port (1952), released by RKO
  • Will Success Spoil Rock Hunter? (1957), released by 20th Century Fox (uncredited)
  • The Mikado (1960), made for television
  • Skidoo (1968), released by Paramount.
• Harpo:
  • Too Many Kisses (1925), released by Paramount
  • Stage Door Canteen (1943), released by United Artists (cameo)
• Chico:
  • Papa Romani (1950), television pilot
• Zeppo:
  • A Kiss in the Dark (1925), released by Paramount (cameo)

[edit] Characters

Film	Year	Groucho	Chico	Harpo	Zeppo
Humor Risk	1926	The Villain	The Italian	Watson, Detective	The Love Interest
The Cocoanuts	1929	Mr. Hammer	Chico	Harpo	Jamison
Animal Crackers	1930	Captain Geoffrey T. Spaulding	Ravelli	The Professor	Horatio Jamison
The House That Shadows Built	1931	Caesar's Ghost	Tomalio	The Merchant of Weiners	Sammy Brown
Monkey Business	1931	Groucho	Chico	Harpo	Zeppo
Horse Feathers	1932	Professor Quincy Adams Wagstaff	Baravelli	Pinky	Frank Wagstaff
Duck Soup	1933	Rufus T. Firefly	Chicolini	Pinky	Lt. Bob Roland
A Night at the Opera	1935	Otis B. Driftwood	Fiorello	Tomasso
A Day at the Races	1937	Dr. Hugo Z. Hackenbush*	Tony	Stuffy
Room Service	1938	Gordon Miller	Harry Binelli	Faker Englund
At the Circus	1939	J. Cheever Loophole	Antonio Pirelli	Punchy
Go West	1940	S. Quentin Quale	Joe Panello	Rusty Panello
The Big Store	1941	Wolf J. Flywheel	Ravelli	Wacky
A Night in Casablanca	1946	Ronald Kornblow	Corbaccio	Rusty
Love Happy	1949	Sam Grunion	Faustino the Great	Harpo
The Story of Mankind	1957	Peter Minuit	Monk	Sir Isaac Newton

* (To avoid a possible lawsuit, this name was chosen instead of the intended "Quackenbush" after it was discovered that there was a real doctor by this name.)

[edit] Trivia

• Harpo was the first brother to appear on screen in a widely released film, having been cast in Too Many Kisses as "The Village Peter Pan." It was in this role that Harpo spoke the only line he would ever speak in front of a movie or TV camera: "You sure you can't move?" But as it was a silent movie, audiences still didn't hear his voice.

• The Marman clamp was invented by Herbert Marx, better known by his stage name of Zeppo Marx as one of the Marx Brothers. It was manufactured by his company Marman Products. At the time it was designed to secure cargo during transport. The U.S. Military used it to transport the atomic bombs used at the end of the Second World War. Marman clamps are found in almost every modern moving vehicle.^[6]

• The Cluster mission consists of 4 identical scientific satellites, flying in formation, to explore the Earth's magnetosphere. The original 4 satellites were unofficially christened Groucho, Chico, Harpo and Zeppo; the 5th (spare) satellite was christened Gummo.

[edit] Influences

Cult TV show Mystery Science Theater 3000 made numerous references to the Marx Brothers throughout the show's run:

• During the host segment of episode 701 (Night of the Blood Beast), where Mike is laboriously trying to write a song as Gypsy is singing at the same time; the song eventually breaks down into chaos and a (somewhat altered) version of the "Pop Goes the Weasel" song from the movie Duck Soup.
• Several MST3K episodes contain references to lines and routines performed in Marx Brothers films; these are usually spoken during the movie segments, when the characters are "riffing" on the film being played for them. Recurring Marx Brothers "riffs" include:
  • Animal Crackers (usually a take on the "I can't think of the finish!" "That's funny — I can't think of anything else" routine)
  • Duck Soup (Crow imitating Margaret Dumont saying "Professor Firefly"; another favorite usually occurs when a monster or villain grabs a woman during a movie, which usually prompts one of the MST3K trio to state a variation on Firefly's "what I'm trying to say is I love you" line)
  • Horse Feathers ("Anything further, father?")
  • A Day at the Races (variations on the "If I hold you any closer I'll be in back of you" line; variations on the "Either he's dead or my watch has stopped" line)
  • A Night at the Opera (an apparent favorite is the routine referencing the cramped cabin sequence, when Driftwood orders lunch: Crow T. Robot adds "And two hardboiled eggs" to someone's line in the movie; Tom Servo then goes "honk", which prompts Crow to amend "Make that three hardboiled eggs.")
• The movies House of 1000 Corpses and The Devil's Rejects, directed by Rob Zombie, contain characters that assume the names of Marx Brothers characters, including Capt. Spaulding, Rufus Firefly, and Otis Driftwood.
• Gummo directed by Harmony Korine is named after the Marx brother that never made it to the screen.

[edit] See also

• Margaret Dumont
• Thelma Todd

[edit] References

[edit] External links

• www.marx-brothers.org
• Marxology
• Marx-o-rama
• The Marx Brothers Museum
• Marx Brothers Night at the Opera Treasury
• Marx Brothers Forum
• The Marx Brothers biography

The Marx Brothers
Chico Marx | Harpo Marx | Groucho Marx | Gummo Marx | Zeppo Marx
Films with Chico, Harpo, Groucho, and Zeppo
Humor Risk (1921) • The Cocoanuts (1929) • Animal Crackers (1930) • The House That Shadows Built (1931) • Monkey Business (1931) • Horse Feathers (1932) • Duck Soup (1933)
Films with Chico, Harpo, and Groucho
A Night at the Opera (1935) • A Day at the Races (1937) • Room Service (1938) • At the Circus (1939) • Go West (1940) • The Big Store (1941) • A Night in Casablanca (1946) • Love Happy (1949) The Story of Mankind (1957)