Tag Archive: Groucho Marx


When asked why I don’t join groups, I have been fond of citing Groucho Marx’s much-quoted quip that he refused to join any club that would have him as a member. This is a good line but a glib answer to a serious question. As often tends to be the case, the truth is more complicated.

It is not that I am opposed to those who join together in the name of good causes or in the pursuit of a more harmonious society. Anybody who is prepared to stand up for their beliefs deserves praise and should not be subject to cynical sniping. I accept that there is something innately reassuring about finding kindred spirits who share your world view.

So why don’t I join these noble tribes in a quest to put the world to rights?

One reason is that I have also had a marked tendency towards misanthropy.  I have read and fully acknowledge Rutger Bregman’s more charitable view of Humankind but I can’t wholly endorse his conclusions. I find myself more inclined to agree with the sentiments expressed in Nick Cave’s song ‘People Ain’t No Good’.

Another cause of my aversion to groups is my innate shyness. Put bluntly, people make me nervous! But I don’t think this is a unique or unusual feeling. Practically everyone is shy in certain situations and if they are not, they are usually the types who lack the social graces and reject accepted notions of civilized restraint.

But I think it is the common characteristics of many groups that are the main reason I stay clear of them. I would maintain that even the most fervent campaigning organisations can turn into less radical gatherings. What begins with an expression of revolutionary zeal can easily subside into cosy discussions over tea and cakes, wondering why the rest of world are not as enlightened and intelligent as you are.

But, I hear you mutter, the people united will never be divided. Heartening as this platitude may be, it is more often the case that corporate power retains its strength through unity. Social uprisings can lead to positive change but they can also result in greater suppression and tighter restrictions. In recent years, populism as an expression of collective power has morphed into state-led regimes that resemble totalitarianism.    

To stand against ‘herd mentality’ is as much of a defiant social act as bonding together under the warm glow of comradeship. I applaud the naysayers, the rebel rousers and the iconoclasts but I also value contrariness above clubbiness. That’s why I don’t join groups.  

THOUGHTS ON TELEVISION

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SHTICKS, GAGS AND MONKEY BUSINESS

MONKEY BUSINESS directed by Norman Z.McLeod (USA, 1931)

After two movies based on vaudeville shows, Monkey Business was the first Marx Brothers film written specially for the big screen. It’s included on the syllabus of the  The Language of Hollywood  Coursera MOOC to show how, with the coming of sound, many films of the 1930s were not dependent on innovative auteurs but relied on the ability of the players to generate the entertainment.

Effectively, this means that the director’s job is reduced to simply pointing the camera and relying on the timing of the performers.

The Marx Brothers had honed their comic skills on Broadway and knew exactly what audiences wanted, as is proven by the huge success of this movie.

Theirs is the essence of situation comedy with the specific situations here being a ship, a high-class party and a barn. Most of the action takes place on board an ocean liner where the four brothers are stowaways. Continue reading

HAIL HAIL FREEDONIA

DUCK SOUP directed by Leo McCarey (USA, 1933)

I’d forgotten just how anarchic and madcap The Marx Brothers’ movies were. I loved this manic energy as a kid and Harpo in particular still makes me crack up with his face pulling and bottomless pockets.

He’s the perfect foil to the continual wise cracking of Groucho and the bluster of Chico.  The hat switching  and mirror scenes are straight out of vaudeville and classic examples of comic timing.

The plot is bizarre and defies logic which is probably why it still works as an effective political satire. Continue reading

SEEING IS BELIEVING

FILM : A VERY SHORT INTRODUCTION by Michael Wood (Oxford University Press)

What can you say about the subject of film in 144 pages that hasn’t been said before?  Quite a lot, actually if you are Michael Wood, professor of comparative literature at Princeton University.

He brings a fresh gaze to what might otherwise be a tired subject and does so without being pompous or elitist. He recognises that movies can be works of art and say something profound about the human condition but ,equally, they have a role in providing what he calls “pure unimproving pleasure”.

He picks a quote from the Marx Brothers’ Duck Soup to illustrate how what we see in film plays on our perception of reality. In a scene where Chico and Harpo are both disguised as Groucho, Margaret Dumont sees one exit and can’t understand how the other ‘Groucho’ can still be in the room – “Who are you gonna believe, me or your own eyes?”, asks Chico.

Filmmakers play with such illusions and deceptions all the time to raise the conundrum that Wood poses: “you can know what you can’t see but you can’t see what you don’t know”.

Statements like this could easily have led down a dead-end of navel gazing, but Michael Wood isn’t in the business of making obscure philosophical statements for the hell of it.

At the heart of this book is a deep and enduring love of the medium since film can “endow lifeless things with life, or living things with a different life”.

He gives a brief overview of the origins and various definitions of film in all its forms and despite the demise of cinemas as movie palaces, he remains optimistic about the future.

We experience films in wholly different ways now and on this topic he quotes Jonathan Rosenbaum from his book Goodbye Cinema, Hello Cinephilia in identifying a new kind of viewers with “a love of films that doesn’t depend on the old experience of cinema”.

Through You Tube, Netflix, Mubi and countless other legal and illegal online resources we have the history of film at our disposal that has never been possible before. There are pros and cons to this that you could argue about until the cows come home but Wood prefers to end on a deliberately positive note : “Film, in its magical animating mode doesn’t define, fix or even represent anything, doesn’t capture, hold or freeze, it lets its objects run, lends them the life we thought they had lost; and shaped or ragged, it mixes what we remember with what we dream and offers us an image of movement that we often can’t quite believe and almost never can deny” .

In other words, memories and imagined worlds can become united by film ; this why the where, when and how we watch may change but the desire to see films will never die.