Monkey Business


1h 17m 1931
Monkey Business

Brief Synopsis

Four stowaways get mixed up with gangsters while running riot on an ocean liner.

Film Details

Genre
Comedy
Release Date
Sep 19, 1931
Premiere Information
not available
Production Company
Paramount Publix Corp.
Distribution Company
Paramount Publix Corp.
Country
United States

Technical Specs

Duration
1h 17m
Sound
Mono (Western Electric Noiseless Recording)
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
6,947ft

Synopsis

Four stowaways, Groucho, Harpo, Chico and Zeppo, are discovered aboard a luxury liner and are chased for the entire voyage by Captain Corcoran and his crew. At various times during the chase, Harpo becomes part of a Punch and Judy show, and Chico and Harpo impersonate the barber. Groucho hides in a closet in gangster Alky Briggs's stateroom, and when Groucho emerges from the closet, he finds Lucille, Briggs's wife, alone and flirts with her. Briggs suddenly comes in, and after Zeppo also bursts into the room, Briggs hires Groucho and Zeppo as his bodyguards. Meanwhile, Chico and Harpo wander into rival gangleader Joe Helton's room to play a game of chess and become his bodyguards. Briggs enters Helton's stateroom and announces his takeover of Helton's territory, but Helton orders him out, with the help of Chico and Harpo. Groucho later hires himself out to Helton as his personal bodyguard in an attempt to baffle logic. When the ocean liner docks, the stowaways try to impersonate singer Maurice Chevalier, whose passport Zeppo stole, but are unsuccessful. When a man faints, the stowaways hide in his stretcher and are carried off the ship. Later, Mary Helton is kidnapped at her coming-out party by Briggs's men and is held in the barn. Because Briggs has told Groucho of his plan, Groucho and the boys warn Helton and then go to the barn. A fight ensues, during which Zeppo rescues Mary and later knocks Briggs out just as Helton arrives.

Film Details

Genre
Comedy
Release Date
Sep 19, 1931
Premiere Information
not available
Production Company
Paramount Publix Corp.
Distribution Company
Paramount Publix Corp.
Country
United States

Technical Specs

Duration
1h 17m
Sound
Mono (Western Electric Noiseless Recording)
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
6,947ft

Articles

Monkey Business (1931)


"Love flies out the door when money comes innuendo."
-Groucho Marx, Monkey Business

Sanity flew out the door, allowing non-stop hilarity to come "innuendo," when the Marx Bros. starred in Monkey Business, their first Hollywood film in 1931. After two pictures adapted from their stage hits-both shot in Paramount's Astoria, Long Island studios while the comic team was performing on stage at night-the brothers Marx worked from an original screenplay for the first time, setting new standards for on-screen anarchy.

Though Monkey Business was a huge hit that marked the beginning of the Marx Brothers' love affair with Southern California, it also launched a controversy that would haunt the team, and particularly Groucho, to this day - the question of writer S.J. Perelman's contribution to their careers. Later writers have gone so far as to claim that the entire Groucho persona had been modeled on Perelman (it was actually refined by Groucho with the help of writer-director George S. Kaufman). For his part, in later years Groucho claimed that all but a few lines of Perelman's work remained in the two films he wrote for them - Monkey Business and Horse Feathers - insisting that Perelman was too literary to write effective screen comedy.

While they were still working on Broadway, Groucho came across Dawn Ginsbergh's Revenge, a new novel by the young writer S.J. Perelman. He sent the author a complimentary letter and invited him to meet him backstage. There, he asked Perelman if he would be interested in writing for the Marxes. His first assignment was to team with W.B. Johnstone, who had written their stage hit I'll Say She Is! to write a radio script for them. At first, the writers were daunted by the idea of putting the team on the radio, particularly as Harpo never spoke. During a story conference, however, they handed over their one idea - the Marxes as stowaways on a luxury liner. Groucho was so impressed he decided to make it their next film and paraded the writers to Paramount Pictures' New York business office to sign contracts.

The jovial atmosphere didn't last long. When Perelman arrived in Hollywood, his producer, Herman J. Mankiewicz, warned him about working with the Marx Brothers, "They're mercurial, devious and ungrateful. I hate to depress you, but you'll rue the day you ever took the assignment. This is an ordeal by fire. Make sure you wear asbestos pants." Perelman found out how right he was when he read the first draft to them. According to legend, Groucho responded to it with two words, "It stinks." Writer Ned Tennant, who contributed some uncredited gags to the script, offers another, though no less scathing, response from Groucho: "I think we need a script."

For the next five months, they incorporated suggestions from a variety of gag writers, along with the Marx Brothers themselves, Mankiewicz and director Norman Z. McLeod. During filming, the script changed even more as the brothers improvised. McLeod quickly learned that when they started to ad lib, he should just let the cameras roll until they got tired. Often, he thought they came up with better material than what had been scripted.

Throughout Groucho complained that Perelman's writing was too literary. When he rejected a reference to the operetta The Student Prince, his comment was, "The trouble is that the barber in Peru won't get it," referring to the small town of Peru, Indiana. Although another Marx Brothers writer, Arthur Sheekman, got the actual screenplay credit, a good deal of Perelman's work remained.

For all the chaos, however, the film was a huge success for everyone involved. Its impressive box-office performance established the Marx Brothers as major film stars and helped all of the writers find more work in Hollywood. Perelman did not stay for much longer, however, preferring to work on his own projects in New York. But as his name grew in literary circles, some people began giving him more credit than he deserved or would have claimed for himself.

For decades, this didn't seem to affect his relationship with Groucho. The two remained friendly, often visiting each other and even doing a joint interview in the '60s with critic Kenneth Tynan. It wasn't until his final years that Groucho began expressing his resentment at the undue credit he felt Perelman had been given. In some interviews, he referred to him as the worst writer ever to work for the Marx Brothers. He was more generous, however, in his last statement on the issue. In The Grouchophile he wrote, "...he is a great writer with a brilliant comic mind that didn't always mesh well with the lunacies of the Marx Brothers."

Producer: Herman J. Mankiewicz
Director: Norman Z. McLeod
Screenplay: Arthur Sheekman
Based on a story by S.J. Perelman, W. B. Johnstone & Ronald Pertwee
Cinematography: Arthur L. Todd
Music: Ralph Rainger, Leo Robin, Richard A. Whiting
Principal Cast: Groucho Marx (Groucho), Harpo Marx (Harpo), Chico Marx (Chico), Zeppo Marx (Zeppo), Thelma Todd (Lucille), Tom Kennedy (Gibson), Ruth Hall (Mary Helton).
BW-78m. Closed captioning.

by Frank Miller

Monkey Business (1931)

Monkey Business (1931)

"Love flies out the door when money comes innuendo." -Groucho Marx, Monkey Business Sanity flew out the door, allowing non-stop hilarity to come "innuendo," when the Marx Bros. starred in Monkey Business, their first Hollywood film in 1931. After two pictures adapted from their stage hits-both shot in Paramount's Astoria, Long Island studios while the comic team was performing on stage at night-the brothers Marx worked from an original screenplay for the first time, setting new standards for on-screen anarchy. Though Monkey Business was a huge hit that marked the beginning of the Marx Brothers' love affair with Southern California, it also launched a controversy that would haunt the team, and particularly Groucho, to this day - the question of writer S.J. Perelman's contribution to their careers. Later writers have gone so far as to claim that the entire Groucho persona had been modeled on Perelman (it was actually refined by Groucho with the help of writer-director George S. Kaufman). For his part, in later years Groucho claimed that all but a few lines of Perelman's work remained in the two films he wrote for them - Monkey Business and Horse Feathers - insisting that Perelman was too literary to write effective screen comedy. While they were still working on Broadway, Groucho came across Dawn Ginsbergh's Revenge, a new novel by the young writer S.J. Perelman. He sent the author a complimentary letter and invited him to meet him backstage. There, he asked Perelman if he would be interested in writing for the Marxes. His first assignment was to team with W.B. Johnstone, who had written their stage hit I'll Say She Is! to write a radio script for them. At first, the writers were daunted by the idea of putting the team on the radio, particularly as Harpo never spoke. During a story conference, however, they handed over their one idea - the Marxes as stowaways on a luxury liner. Groucho was so impressed he decided to make it their next film and paraded the writers to Paramount Pictures' New York business office to sign contracts. The jovial atmosphere didn't last long. When Perelman arrived in Hollywood, his producer, Herman J. Mankiewicz, warned him about working with the Marx Brothers, "They're mercurial, devious and ungrateful. I hate to depress you, but you'll rue the day you ever took the assignment. This is an ordeal by fire. Make sure you wear asbestos pants." Perelman found out how right he was when he read the first draft to them. According to legend, Groucho responded to it with two words, "It stinks." Writer Ned Tennant, who contributed some uncredited gags to the script, offers another, though no less scathing, response from Groucho: "I think we need a script." For the next five months, they incorporated suggestions from a variety of gag writers, along with the Marx Brothers themselves, Mankiewicz and director Norman Z. McLeod. During filming, the script changed even more as the brothers improvised. McLeod quickly learned that when they started to ad lib, he should just let the cameras roll until they got tired. Often, he thought they came up with better material than what had been scripted. Throughout Groucho complained that Perelman's writing was too literary. When he rejected a reference to the operetta The Student Prince, his comment was, "The trouble is that the barber in Peru won't get it," referring to the small town of Peru, Indiana. Although another Marx Brothers writer, Arthur Sheekman, got the actual screenplay credit, a good deal of Perelman's work remained. For all the chaos, however, the film was a huge success for everyone involved. Its impressive box-office performance established the Marx Brothers as major film stars and helped all of the writers find more work in Hollywood. Perelman did not stay for much longer, however, preferring to work on his own projects in New York. But as his name grew in literary circles, some people began giving him more credit than he deserved or would have claimed for himself. For decades, this didn't seem to affect his relationship with Groucho. The two remained friendly, often visiting each other and even doing a joint interview in the '60s with critic Kenneth Tynan. It wasn't until his final years that Groucho began expressing his resentment at the undue credit he felt Perelman had been given. In some interviews, he referred to him as the worst writer ever to work for the Marx Brothers. He was more generous, however, in his last statement on the issue. In The Grouchophile he wrote, "...he is a great writer with a brilliant comic mind that didn't always mesh well with the lunacies of the Marx Brothers." Producer: Herman J. Mankiewicz Director: Norman Z. McLeod Screenplay: Arthur Sheekman Based on a story by S.J. Perelman, W. B. Johnstone & Ronald Pertwee Cinematography: Arthur L. Todd Music: Ralph Rainger, Leo Robin, Richard A. Whiting Principal Cast: Groucho Marx (Groucho), Harpo Marx (Harpo), Chico Marx (Chico), Zeppo Marx (Zeppo), Thelma Todd (Lucille), Tom Kennedy (Gibson), Ruth Hall (Mary Helton). BW-78m. Closed captioning. by Frank Miller

The Marx Brothers Silver Screen Collection on DVD


The Marx Brothers could turn any word into a bit of zany wordplay and create the most madcap of visual gags, but their comedy is more than that. It often contains sly digs at social and political issues and is based on real observations of human behavior, qualities which keep their comedies timeless. Universal Home Video's six-disc DVD release The Marx Brothers Silver Screen Collection comprises the five films the Brothers made at Paramount in the early 1930s - which includes most of their best work.

While the movies are superb, enough reason to make this a must-own, Universal's presentation is somewhat lacking. They've taken the time to create a pleasing fold-out package with gorgeous photos and a small booklet attached to the spine, but the information therein is pretty sparse and the extras are, in a word, lame. Incredibly, the studio has included a stand-alone bonus disc with a whopping 15 minutes of material. Since most of the films run a little over an hour, this material could easily have been added to one of the other discs. Furthermore, the extra material just isn't that interesting - two interviews with Groucho and Harpo (no, he doesn't talk) on The Today Show from the 1960s, and one with Harpo's son William from the 1980s. The latter interview includes some snippets of Marx Brother home movies, but they're not terribly revealing. Obviously, since NBC owns Universal, these clips required little effort to secure.

By contrast, the Warner Home Video set of Marx Brothers MGM films, released last spring, had tons of extras including commentaries, documentaries, outtakes and cartoons, and they were interesting. More importantly, those movies were cleaned up and in terrific shape. Universal's titles, which are better films, are visibly in need of restoration, and it seems likely that Universal simply rushed out this collection in order to take advantage of the attention lavished on the Warner set. In the end, even though the prints are far from pristine, they do look and sound decent enough to be enjoyable. Here is a rundown by title:

THE COCOANUTS

Groucho:

"The first musical number on the program will be a piccolo solo, which we will skip."

The Marx Brothers made a one-reel short in 1926 called Humor Risk, but it was never released and is now a lost film. (Groucho claimed it wasn't very good.) This makes The Cocoanuts their earliest surviving movie, and it's the creakiest of the bunch. It finds Groucho running a Florida hotel and auctioning off parcels of land, and all four boys getting mixed up with jewel robbers. While not an essential Marx Bros. film, it certainly has its moments, like Chico continually raising his own bid at an auction, the "viaduct/why-a-duck" wordplay between Groucho and Chico, and a hilarious version of the theme from Carmen sung as "I want my shirt!" While all these pictures are full of music, The Cocoanuts is a full-blown musical with elaborate numbers. Typical of the first Hollywood sound films, the story (such as it is) stops in its tracks every time a number begins, and one number, "Monkey Doodle Do" is so ludicrous that it must be seen to be believed. It includes one camera angle which pretty much exists solely to look up Mary Eaton's skirt.

Margaret Dumont, the woman born to play the straight woman to Groucho Marx on stage and screen, does so here in their first feature, and she would continue to do so for many years ahead. Also in the cast, strangely enough, is Kay Francis, offering little hint of the sophisticated major star she would soon become. Harpo is a quite aggressive presence in The Cocoanuts, more amoral and devious than in the other movies, though no less funny. Zeppo has less to do here than in any other film, and that's saying something!

The Cocoanut was adapted from a George S. Kaufman hit play that the Marxes had performed on Broadway and on the road for nearly two years. This massive amount of performing allowed them to refine the timing of their gags perfectly and was a technique they would continue to use for future films. In fact, while shooting this film by day in New York, the Marx Brothers were performing Animal Crackers on stage at night, a play which would become their second film.

Technically, The Cocoanuts is in the worst shape of the five movies in this collection, with scratches, glitches, soft-focus, and rough spots galore. The elements are clearly in bad shape, and this does not help the stagy, static camerawork go down any easier.

ANIMAL CRACKERS

Groucho talking with two ladies:

"What do you say? Are we all gonna get married?"

"But that's bigamy."

"Yes and that's big of me too. That's big of all of us."

The second Marx Brothers film is a winner, with Groucho playing Capt. Spaulding, a famous explorer just returned from Africa whom Margaret Dumont is honoring with a party. Eventually the plot turns on stolen artwork and the efforts of the boys to retrieve it. Along the way, Harpo tries to produce a "flash" (i.e. flashlight) from his pocket, and instead pulls out a flask, a flute, a flush of cards, a fish, etc. General madcap choas abounds. Though also adapted from a play, Animal Crackers is less stagy than its predecessor. The transfer is better, too, but some reels look soft in focus and portions are quite scratchy. An original trailer is included.

MONKEY BUSINESS

Groucho to ship's captain:

"I want to register a complaint. Do you know who sneaked into my stateroom at 3:00 this morning?"

"Who did that?"

"Nobody, and that's my complaint."

Here, the boys are stowaways on a ship, a setting that prefigures their later MGM masterpiece A Night at the Opera (1935). While constantly evading capture, two get hired by a mobster to be his bodyguards, while the other two are hired by another. The plot is thin even for a Marx Bros film, but the movie never slows down due to hilarious bits of business like Harpo putting on a puppet show for a room full of kids, and all four brothers trying to sing like Maurice Chevalier in order to get off the ship (even Harpo, in a manner of speaking.) Monkey Business is in relatively good shape technically, with fewer glitches and scratches than the previous films.

HORSE FEATHERS

Groucho to Zeppo:

"What's all this talk I hear about you fooling around with a college widow? No wonder you can't get out of college. Twelve years in one college. I went to three colleges in twelve years and fooled around with three college widows."

Groucho is the newly elected president of Huxley College who tries to hire two football players to help his team win, but he ends up hiring Harpo and Chico instead. The climactic football game is an inspired bit of lunacy, and the picture as a whole is much more cinematic than the first three - it moves. Includes the classic bit of Groucho and Chico trying to enter the bar by saying the password. The print is somewhat scratchy with some sound skips, splices, frame jitter and speckling, but these problems come and go - one reel is especially bad, while others are quite good. For some reason, Universal has included a trailer made for a video release of the movie in the 1980s. It adds absolutely nothing.

DUCK SOUP

Zeppo to Groucho, in war zone:

"General Smith reports a gas attack. He wants to know what to do."

"Tell him to take a teaspoon full of bicarbonate of soda and a half a glass of water."

"Yes, sir."

The Marx Brothers' final Paramount film is a bona fide masterpiece and is technically in the best shape of all the movies in this set. Directed by Leo McCarey, it is brilliant political satire, especially the final sequence where the Marx Brothers are in combat. Groucho is president of Freedonia and declares war on a neighboring country in order to defend the honor of Freedonia and Mrs. Teasdale (Margaret Dumont). The sequence with three brothers dressed as Groucho, culminating in the famous mirror scene, is hysterical no matter how many times you see it.

Duck Soup was famously a flop upon release and nearly sank Paramount Pictures. Now it's hailed not just as the best Marx Brothers movie of all but as one of the finest comedies ever made, and it is listed in the National Film Registry at the Library of Congress. (It was one of the first 50 titles to be inducted.) The film was a turning point for the brothers. Zeppo retired to become a talent manager afterwards, and Paramount stopped producing Marx Brothers movies, clearing the way for MGM's Irving Thalberg to step in, sign the boys to a new contract, and significantly re-shape their films narratively. This resulted in one indisputable gem, A Night at the Opera, and then other films of steadily decreasing quality (though they all have their moments).

Thalberg thought the Paramount productions too madcap and unfocused, but in hindsight, that was not a problem. Seen today, these pictures are fresh and hilariously funny, whether you're 9 or 90, and this DVD set, despite its shortcomings, is one of the more notable releases of the year.

To order The Marx Brothers Silver Screen Collection, go to TCM Shopping.

by Jeremy Arnold

The Marx Brothers Silver Screen Collection on DVD

The Marx Brothers could turn any word into a bit of zany wordplay and create the most madcap of visual gags, but their comedy is more than that. It often contains sly digs at social and political issues and is based on real observations of human behavior, qualities which keep their comedies timeless. Universal Home Video's six-disc DVD release The Marx Brothers Silver Screen Collection comprises the five films the Brothers made at Paramount in the early 1930s - which includes most of their best work. While the movies are superb, enough reason to make this a must-own, Universal's presentation is somewhat lacking. They've taken the time to create a pleasing fold-out package with gorgeous photos and a small booklet attached to the spine, but the information therein is pretty sparse and the extras are, in a word, lame. Incredibly, the studio has included a stand-alone bonus disc with a whopping 15 minutes of material. Since most of the films run a little over an hour, this material could easily have been added to one of the other discs. Furthermore, the extra material just isn't that interesting - two interviews with Groucho and Harpo (no, he doesn't talk) on The Today Show from the 1960s, and one with Harpo's son William from the 1980s. The latter interview includes some snippets of Marx Brother home movies, but they're not terribly revealing. Obviously, since NBC owns Universal, these clips required little effort to secure. By contrast, the Warner Home Video set of Marx Brothers MGM films, released last spring, had tons of extras including commentaries, documentaries, outtakes and cartoons, and they were interesting. More importantly, those movies were cleaned up and in terrific shape. Universal's titles, which are better films, are visibly in need of restoration, and it seems likely that Universal simply rushed out this collection in order to take advantage of the attention lavished on the Warner set. In the end, even though the prints are far from pristine, they do look and sound decent enough to be enjoyable. Here is a rundown by title: THE COCOANUTS Groucho: "The first musical number on the program will be a piccolo solo, which we will skip." The Marx Brothers made a one-reel short in 1926 called Humor Risk, but it was never released and is now a lost film. (Groucho claimed it wasn't very good.) This makes The Cocoanuts their earliest surviving movie, and it's the creakiest of the bunch. It finds Groucho running a Florida hotel and auctioning off parcels of land, and all four boys getting mixed up with jewel robbers. While not an essential Marx Bros. film, it certainly has its moments, like Chico continually raising his own bid at an auction, the "viaduct/why-a-duck" wordplay between Groucho and Chico, and a hilarious version of the theme from Carmen sung as "I want my shirt!" While all these pictures are full of music, The Cocoanuts is a full-blown musical with elaborate numbers. Typical of the first Hollywood sound films, the story (such as it is) stops in its tracks every time a number begins, and one number, "Monkey Doodle Do" is so ludicrous that it must be seen to be believed. It includes one camera angle which pretty much exists solely to look up Mary Eaton's skirt. Margaret Dumont, the woman born to play the straight woman to Groucho Marx on stage and screen, does so here in their first feature, and she would continue to do so for many years ahead. Also in the cast, strangely enough, is Kay Francis, offering little hint of the sophisticated major star she would soon become. Harpo is a quite aggressive presence in The Cocoanuts, more amoral and devious than in the other movies, though no less funny. Zeppo has less to do here than in any other film, and that's saying something! The Cocoanut was adapted from a George S. Kaufman hit play that the Marxes had performed on Broadway and on the road for nearly two years. This massive amount of performing allowed them to refine the timing of their gags perfectly and was a technique they would continue to use for future films. In fact, while shooting this film by day in New York, the Marx Brothers were performing Animal Crackers on stage at night, a play which would become their second film. Technically, The Cocoanuts is in the worst shape of the five movies in this collection, with scratches, glitches, soft-focus, and rough spots galore. The elements are clearly in bad shape, and this does not help the stagy, static camerawork go down any easier. ANIMAL CRACKERS Groucho talking with two ladies: "What do you say? Are we all gonna get married?" "But that's bigamy." "Yes and that's big of me too. That's big of all of us." The second Marx Brothers film is a winner, with Groucho playing Capt. Spaulding, a famous explorer just returned from Africa whom Margaret Dumont is honoring with a party. Eventually the plot turns on stolen artwork and the efforts of the boys to retrieve it. Along the way, Harpo tries to produce a "flash" (i.e. flashlight) from his pocket, and instead pulls out a flask, a flute, a flush of cards, a fish, etc. General madcap choas abounds. Though also adapted from a play, Animal Crackers is less stagy than its predecessor. The transfer is better, too, but some reels look soft in focus and portions are quite scratchy. An original trailer is included. MONKEY BUSINESS Groucho to ship's captain: "I want to register a complaint. Do you know who sneaked into my stateroom at 3:00 this morning?" "Who did that?" "Nobody, and that's my complaint." Here, the boys are stowaways on a ship, a setting that prefigures their later MGM masterpiece A Night at the Opera (1935). While constantly evading capture, two get hired by a mobster to be his bodyguards, while the other two are hired by another. The plot is thin even for a Marx Bros film, but the movie never slows down due to hilarious bits of business like Harpo putting on a puppet show for a room full of kids, and all four brothers trying to sing like Maurice Chevalier in order to get off the ship (even Harpo, in a manner of speaking.) Monkey Business is in relatively good shape technically, with fewer glitches and scratches than the previous films. HORSE FEATHERS Groucho to Zeppo: "What's all this talk I hear about you fooling around with a college widow? No wonder you can't get out of college. Twelve years in one college. I went to three colleges in twelve years and fooled around with three college widows." Groucho is the newly elected president of Huxley College who tries to hire two football players to help his team win, but he ends up hiring Harpo and Chico instead. The climactic football game is an inspired bit of lunacy, and the picture as a whole is much more cinematic than the first three - it moves. Includes the classic bit of Groucho and Chico trying to enter the bar by saying the password. The print is somewhat scratchy with some sound skips, splices, frame jitter and speckling, but these problems come and go - one reel is especially bad, while others are quite good. For some reason, Universal has included a trailer made for a video release of the movie in the 1980s. It adds absolutely nothing. DUCK SOUP Zeppo to Groucho, in war zone: "General Smith reports a gas attack. He wants to know what to do." "Tell him to take a teaspoon full of bicarbonate of soda and a half a glass of water." "Yes, sir." The Marx Brothers' final Paramount film is a bona fide masterpiece and is technically in the best shape of all the movies in this set. Directed by Leo McCarey, it is brilliant political satire, especially the final sequence where the Marx Brothers are in combat. Groucho is president of Freedonia and declares war on a neighboring country in order to defend the honor of Freedonia and Mrs. Teasdale (Margaret Dumont). The sequence with three brothers dressed as Groucho, culminating in the famous mirror scene, is hysterical no matter how many times you see it. Duck Soup was famously a flop upon release and nearly sank Paramount Pictures. Now it's hailed not just as the best Marx Brothers movie of all but as one of the finest comedies ever made, and it is listed in the National Film Registry at the Library of Congress. (It was one of the first 50 titles to be inducted.) The film was a turning point for the brothers. Zeppo retired to become a talent manager afterwards, and Paramount stopped producing Marx Brothers movies, clearing the way for MGM's Irving Thalberg to step in, sign the boys to a new contract, and significantly re-shape their films narratively. This resulted in one indisputable gem, A Night at the Opera, and then other films of steadily decreasing quality (though they all have their moments). Thalberg thought the Paramount productions too madcap and unfocused, but in hindsight, that was not a problem. Seen today, these pictures are fresh and hilariously funny, whether you're 9 or 90, and this DVD set, despite its shortcomings, is one of the more notable releases of the year. To order The Marx Brothers Silver Screen Collection, go to TCM Shopping. by Jeremy Arnold

Quotes

Afraid? Me? A man who's licked his weight in wild caterpillars?
- Groucho
Oh, I know it's a penny here and a penny there, but look at me. I worked myself up from nothing to a state of extreme poverty.
- Groucho
Mrs. Briggs, I've known and respected your husband Alky for many years. And what's good enough for him is good enough for me.
- Groucho
...Columbus was sailing along on his vessel...
- Groucho
On his what?
- Chico
Not on his what, on his vessel. Don't you know what vessel is?
- Groucho
Sure, I can vessel...
- Chico
Love goes out when money comes in de window.
- Groucho

Trivia

The Marx Brothers' father is sitting on the crates behind them after they're carried off the ship.

Notes

The opening title card to the film reads "Paramount Presents The Four Marx Brothers in Monkey Business." In a contemporary interview, Norman McLeod mentions that there were up to twelve writers working on this film, and when Eddie Cantor visited the set, he made some contributions. A Film Daily news item notes that Samuel Marx, father of the Marx Brothers, made his film debut at the age of 72 in this film. A modern source reports that he earned $12.50 a day for two days. This was McLeod's first solo directorial work. Although copyright records credit cartoonist J. Carver Pusey as contributing writer, modern sources refute any contribution to the final film by him. Modern sources do credit Nat Perrin as a contributing writer. Thelma Todd also appeared in the Marx Brothers' 1932 Paramount film Horse Feathers. Scenes shot for Monkey Business are included in the 1931 Paramount promotional film The House That Shadows Built.

Miscellaneous Notes

Released in United States 1931

Released in United States 1982

Released in United States 1982 (Shown at FILMEX: Los Angeles International Film Exposition ("Marathon of Mirth": Comedy Maratho) March 16 - April 1, 1982.)

Released in United States 1931