By Martin A. Gardner
The Marx Brothers' motion pictures are full of slapstick and visible jokes, gags, puns, pratfalls, and mimicry. yet underneath the laughs is a significant and biting condemnation of yank tradition. This e-book examines old occasions, political practices, financial stipulations, manners and customs, literary matters, and well known leisure as satirized within the movies and considers the ways that the flicks have been proper of their period and stay so this day.
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Extra resources for The Marx Brothers as Social Critics: Satire and Comic Nihilism in Their Films
He’s in love with Polly Potter (Mary Eaton). Polly and her mother, Groucho’s eternal wealthy dowager and foil, are staying at the hotel. Mrs. Potter thinks that Bob is not an acceptable suitor for Polly because he isn’t financially successful. Bob hopes that his ascent as an architect will eliminate his future mother-in-law’s objections based on class distinctions. The Florida land-rush boom attracted unscrupulous human predators, ready to squeeze money from as many people as possible. The Hotel de Cocoanut has its own in-house predators, revealed in a second subplot.
As well, it was one of the first musicals that Paramount filmed. (The 40 4. You Can Get Stucco 41 Broadway Melody is usually considered the first feature-length musical. )3 There were two directors for the film, Florey and Joseph Santley, who had been a Broadway star, a director and writer. 4 The Cocoanuts was a hilarious comment on the kind of boom-and-bust story that makes headlines and has universal appeal in practically any culture at any time in history, with its elements of anticipation, envy, danger, fear, greed, and distrust.
Potter. Using a delivery that is machine-gun fast, in the manner of goal-driven salesmen, thwarting every attempt by her to speak, he browbeats her into listening to him by telling her that whether she “likes it or not” he’s going to tell her about Florida real estate. He starts by citing the rapid growth of property in Florida. His presentation is similar to that which he offered to his bellhops, but the focus here is on the portrayal of untrustworthy salesmen. ” We don’t hear the real words; we rely on Hayakawa’s “nonsense communication,” his definition of how language works.
The Marx Brothers as Social Critics: Satire and Comic Nihilism in Their Films by Martin A. Gardner