Love Happy (1949) - IMDb IMDb 17 January 2017 4:34 PM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Marx Brothers help young Broadway hopefuls while thwarting diamond thieves. Director: a list of 26 titles created 27 Nov 2011 a list of 23 titles created 29 Jul 2012 a list of 44 titles created 05 Nov 2013 a list of 27 titles created 06 Mar 2015 a list of 29 titles created 11 months ago Search for " Love Happy " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. The Marx Brothers are employed at a hotel in postwar Casablanca, where a ring of Nazis is trying to recover a cache of stolen treasure.

Director: Archie Mayo A detective is hired to protect the life of a singer, who has recently inherited a department store, from the store's crooked manager. Director: Charles Reisner The Marx Brothers come to the rescue in the Wild West when a young man, trying to settle an old family feud so he can marry the girl he loves, runs afoul of crooks. Director: Edward Buzzell The Marx Brothers try to help the owner of a circus recover some stolen funds before he finds himself out of a job. Director: Edward Buzzell A penniless theatrical producer must outwit the hotel efficiency expert trying to evict him from his room, while securing a backer for his new play. Director: William A. Seiter Agent has his only client pose as both a French chanteuse and Brazilian bombshell to fool nightclub owner. Director: Alfred E. Green Quincy Adams Wagstaff, the new president of Huxley University, hires bumblers Baravelli and Pinky to help his school win the big football game against rival Darwin University. Director: Norman Z. McLeod During the Florida land boom, the Marx brothers run a hotel, auction off some land, thwart a jewel robbery, and generally act like themselves.

Directors: Robert Florey, Joseph Santley Stars: Groucho Marx, Harpo Marx, Chico Marx On a transatlantic crossing, the Marx brothers get up to their usual antics and manage to annoy just about everyone on board the ship. Director: Norman Z. McLeod A veterinarian posing as a doctor, a race-horse owner and his friends struggle to help keep a sanitarium open with the help of a misfit race-horse. Director: Sam Wood Mayhem and zaniness ensue when a valuable painting goes missing during a party in honor of famed African explorer Captain Spaulding. Director: Victor Heerman A 65-year-old printer hatches an elaborate scheme to avoid forced retirement. Director: Harmon Jones Edit Storyline Young hopefuls trying to stage a Broadway show on a shoestring are sustained with food by expert shoplifter Harpo. They little suspect that his donations include the special sardine can hiding the Romanoff diamonds! Slinky Madame Egelichi and her henchmen will do anything to get them back, but the Marx Brothers lead them a merry chase.

Written by Rod Crawford <puffinus@u.washington.edu> 3 March 1950 (USA) See more » Also Known As: Mono (Western Electric Sound Recording) Color: Did You Know? Trivia When Harpo is being searched by the Zoto Brothers, and they're pulling things out of his coat, a mailbox is pulled out with the name "Moss Kaufman" on it. This is a play (no pun intended) on the playwrights, Kaufman and Hart (George S. Kaufman and Moss Hart). Kaufman collaborated on both THE COCOANUTS and ANIMAL CRACKERS for the Marx Brothers. Moss Hart & George S. Kaufman wrote THE MAN WHO CAME TO DINNER in which the character Banjo is based upon Harpo Marx. See more » Goofs The theatre's name changes from the Windsor to the Century and then back to the Windsor. See more » Quotes [Sam Grunion tries to follow Madam Egelichi but she halts him at gunpoint] Detective Sam Grunion, narrator of the story : Oh, no. I'm not gonna follow you and get shot. If I was half-shot I'd follow you.

Sullen Groucho Fans Are Smearing a Funny Film 25 December 2004 | by Baravelli_the_ice_lady (Somewhere in Freedonia) – See all my reviews I've been a die-hard Marxist for several years now. After I watched their first seven films to the point where my tapes were in tatters, I sought out their later films, the lesser productions Room Service thru Night in Casablanca. After that, I still wanted more, so I finally gave in and watched the one film that I KNEW would be painful: Love Happy. Virtually every review has smeared this film and ripped into it with full claws, so I braced myself and bought the DVD. Now let me tell you something: this movie is great. Of course it's not in the ballpark of the Paramounts, but it fits nicely with their later films, and is a real delight. So why the negative rap? Well, this movie was originally intended as a solo vehicle for Harpo Marx. Chico joined on when he needed money to get out of debt.

Groucho was never supposed to be in this film, but the sponsors said that they wouldn't release it unless he was, so that they could bill it as a "Marx Brothers" picture. So footage of Groucho narrating parts of the story were shoehorned into the finished product. The result? Chico and Harpo are just as enchanting as ever, and Groucho--despite being displayed prominently on the movie posters--is relegated to a commentator. Since most Marx fans are Groucho fans first, Chico/Harpo fans second, this setup comes as a slap in the face, and the film gets trashed. As such, if you watch the Marxes mainly to see Groucho's witty quips, this movie will bore you stiff. However, if you--like me--love the others just as much as Groucho (for me, Chico will ALWAYS be the funniest Marx Brother!) you'll be surprised at how good Love Happy really is. I'd go into the plot, but with a Marx movie, who really cares about the plot? It's our boys we're after.

Chico plays an uproarious piano/violin duet, lusts after Ilona Massey, has some "tootsy-frootsy ice cream" and does some flawed mind-reading; Harpo tumbles through a washing machine, turns his fingers into candles, pulls a dog out of his coat and lusts after Ilona Massey. And Groucho narrates, searches, quips, ponders the situation, and...lusts after Ilona Massey. Oh!--and did I mention this film started the career of a young Marilyn Monroe? In short, to a Chico/Harpo fan, this movie is as good as (and often better than) At the Circus or A Night in Casablanca. To a Groucho fan...well, that's why we have remote-controls. 26 of 27 people found this review helpful. Was this review helpful to you? Yes Movies - The Marx Brothers The Marx Brothers Support this site, shop here: search: keywords: Home | Movies Marx Brothers Movies Hot on the heels of the brothers' success on Broadway, they finally took the plunge and decided to begin a career in the movies.

Actually, their movie careers had a false start several years earlier with a two-reel silent film called Humor Risk. As has been pointed out elsewhere, this film (produced around 1920) was "more risk than humor" and it was never shown to the general public. But by 1929, the Marxes' standing on the stage was rock solid and motion pictures were the next logical step. So, while performing nightly in the Broadway production of Animal Crackers, they began shooting their first feature, The Cocoanuts, at Paramount's Kaufman Astoria Studios on Long Island. (These studios are still used for various film and television productions and the complex is also the home of The American Museum of the Moving Image. ) Between the release of The Cocoanuts in 1929 and their thirteenth and last film, Love Happy, twenty years later, the Marxes went through a lot of changes. Changes in studios, writers, directors, producers...but the charm is always there. Throughout their films, good or bad, they were always the Marx Brothers. Who could ask for more?

Marx Brothers Movies Harpo Marx (Adolph/Arthur) - The Marx Brothers The Marx Brothers Support this site, shop here: Search: Born: November 23, 1888 in New York City, NY Died: September 28, 1964 in Los Angeles Drawing by Salvador Dali from an article in Theatre Arts Monthly, October 1939 Harpo was the second oldest and the one who never spoke. Not entirely true. He spoke quite regularly on stage until the production of "Home Again". Les Marsden had some more information about Harpo's 'speaking career': "He still had a about six lines in "Home Again", but uncle Al Shean simply didn't think he delivered lines all that well. Harpo was so upset that after they had toured the show in vaudeville for awhile and were playing (according to Harpo) the theatre in Champaign, Illinois, Harpo decided to ad-lib all through the performance. A critic in the local newspaper described the show by saying, in part, "Adolph Marx performed beautiful pantomime which was ruined whenever he spoke." Harpo then decided he could do a better job of stealing focus by not speaking.

And he really did continue to speak on stage regularly - just whenever he felt like it. For example, on opening night of 'Animal Crackers' he tackled Margaret Irving and proceeded to tell her a well....let's just say a questionable joke. Groucho, Chico and Zeppo came out onstage and did a running commentary. But he did speak extemporaneously onstage on occasion. Just not from a script and not often. Steve Allen has told me (and has also recounted the tale in various books, etc) all about the evening Harpo left show business during Allen Sherman's show in Pasadena, during which he spoke for several minutes to a stunned audience." Harpo was given the name Adolph, but changed it to Arthur during World War I because it was too 'German'. Through Alexander Woollcott the theater critic, who was responsible for their first big success in New York, Harpo became a member of the Algonquin Round Table. In 1936 he married actress Susan Fleming. They adopted four children Bill, Alex, Jimmy and Minnie. Harpo on I Love Lucy Harpo speaks Harpo never spoke in a movie, but his voice has been recorded, as you can hear here.

"Harpo's harps" by Les Marsden "Harpo rarely played the same harp twice in a movie, and in some movies didn't play a harp at all (Go West harp is actually a loom, At the Races is the dismantled frame of a grand piano, and Duck Soup....well, we all know about that one.) They were usually his own harps but he changed models a lot, particularly in the early years. Eventually, he owned two Lyon & Healy Gold-Gilt Concert Grands, model #24. He had those two harps for years and shortly after his death, Susan was asked to judge a harp competition in Israel. She insisted that Bill come along as well because she knew nothing about the mechanics of harpistry. They both decided to take the two harps along and donate them to two university harp departments in Israel, with the only proviso being that they were not to go in glass cases, but instead were to be used. Upon arrival in Israel, the customs agents demanded a 100% duty payment from Susan and she said 'what?

I'm trying to donate these harps to you!' and was ready (as she told me) to get back on the plane and take the damn harps back home when a governmental official broke through and announced that they'd be happy to take the harps for free! I've heard from other sources that the harps were marked as Harpo's with small plaques but that they indeed were (and hopefully still are) used as Susan intended." © Les Marsden, 1998 Susan Marx Susan Marx died in December 2002. Here is a news item about her: Susan Marx died shortly before midnight Sunday [22 Dec 2002] at Eisenhower Medical Center after suffering a massive heart attack. She was 94. Her son, pianist Bill Marx, was at her bedside just hours after concluding a talk about his father in a benefit for the Jewish Community School with a rendition of "Sunrise Sunset." Bill Marx said there were three phases of his mother's life: her early show biz life as Susan Fleming, her personal life as Mrs. Harpo Marx, and her life of public service as Susan Marx.

Born in Brooklyn, she started her career as a stage actress, working her way up to the top musical revue on Broadway, "The Ziegfeld Follies," in the 1920s. She followed the opportunities to Hollywood in 1931 when she appeared as John Wayne's love interest in "Range Feud." As a Paramount actress, she actually made more movies than the Marx Brothers, with her peak coming in the 1932 comedy "Million Dollar Legs" with W.C. Fields. Her best friend, Gloria Stuart, co-star in the blockbuster film "Titanic," remembered she got a big Hollywood buildup for that film. "The publicity was, she was Susan Fleming with the million-dollar legs," Stuart recalled. "She starred, and her legs were insured for a million dollars." But Bill Marx said his mother hated the movie business. When she met Harpo Marx at Paramount, she courted him -- even proposing to the silent Marx Brothers comedian three times. She and Harpo adopted four children. She began studies to enrich her life with Stuart, whose husband wrote for the Marx Brothers. They studied cooking, stamp collecting and Bonsai tree-shaping.

"She was very forthright, certainly beautifully centered," Stuart said. "When she took up one of her various interests, it was always 100 percent." Susan Marx is survived by her four children, Bill of Rancho Mirage, Alexander of Vallejo, Jim of Paso Robles and Minnie Eagle of Orange. She had five grandchildren and two great-grandchildren. Harpo Marx appeared in the following movies: Film Title Comedy Films COMEDY FILMS Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Examples Earliest Comedy: Cinematic comedy can be considered the oldest film genre (and one of the most prolific and popular). Comedy was ideal for the early silent films, as it was dependent on visual action and physical humor rather than sound. Slapstick, one of the earliest forms of comedy, poked fun at farcical situations of physical mishap and indignity, usually in pratfalls, practical jokes, accidents, acrobatic death-defying stunts, water soakings, or wild chase scenes with trains and cars.

[Burlesque is another form of early comedy, characterized by unrefined and broad humor, designed to produce ridicule.] Pioneers in the early days of silent cinema and film-making, the Lumiere Brothers, included a short comedy film in their very first public screening in 1895 titled Watering the Gardener or "The Sprinkler Sprinkled" (L'Arroseur Arrose). Its predictable subject matter included a man with a garden watering hose who was tricked into being soaked by a prankster child. Keystone Studios: It took until 1912 for American comedy to emerge. The first comics were trained by performing in the circus, in burlesque, vaudeville (music halls), or pantomime. Film entrepreneur Mack Sennett, soon nicknamed "The King of Comedy" and "The Master of Slapstick Comedy," formed the Keystone Company (and Studios) in 1912 - it soon was the leading producer of slapstick and comic characters. The major hallmark of Sennett's career work was inventive, visual, improvised comedy displayed in short silent films that moved frantically.

His early short comedies featured wild slapstick chase finales, visual gags and stunts, and speedy, zany action. The action appeared all the more frantic and frenzied by his use of a filming technique whereby he shot the pictures at a slow camera speed, and then accelerated the frames in the projector during playback. He often cast vaudevillian, burlesque, and circus performers in his films. Those with exaggerated or grotesque looks (obese, cross-eyed, lanky, leering, pop-eyed, etc.) were chosen to add to the unreality of the situations. His most popular pictures involved his bumbling comedy policemen, the Keystone Cops. There would be flying pies, bricks, careening vehicles with people hanging off, crashes, and other dangerous-looking stunts. Cinema's first custard-pie-in-the-face was in Sennett's silent film comedy A Noise From the Deep (1913), in which comedian Mabel Normand, a farmgirl threw a pie into the kisser of obese farmhand Roscoe "Fatty" Arbuckle.

Eccentric comic artists (and character actors) included Arbuckle, Edgar Kennedy, Mabel Normand, zany and cross-eyed Ben Turpin, Mack Swain, Billy Bevan, Charley Chase and Chester Conklin. [Even Carole Lombard began her career at Keystone.] Charlie Chaplin got his start at Keystone (his first film was the short Making a Living (1914)) and made numerous short films from 1914-1919 (for Keystone, Essanay, Mutual, and First National), until his first full-length feature that he directed, wrote, and acted in, The Kid (1921) - see below. The Silent Era Clowns Roscoe "Fatty" Arbuckle: Roscoe "Fatty" Arbuckle was one of the earliest silent film comedians (as well as director and screenwriter).

He started out with the Selig Polyscope Company in 1909 (his first film was Ben's Kid (1909)), and then went onto Universal Pictures in 1913 where he appeared in several of Mack Sennett's Keystone Comedies films, noted for fast-paced chase sequences and 'pie-in-the-face' segments. Arbuckle was the first of the silent comedians to direct his own films, starting with Barnyard Flirtations (1914). His teaming with Mabel Normand at Keystone, in a series of "Fatty and Mabel" films, were lucrative for the studio. In 1917, Arbuckle formed his own production company ("Comique Film Corporation") with producer Joseph Schenck which afforded more creative control, hiring Buster Keaton to star in his first film The Butcher Boy (1917). He used his 'fatness' as part of his sight gags, and his slightly-vulgar but sweet and playful character became extremely popular with younger audiences. By 1919, he had secured at $3 million/3-year contract with Paramount Pictures - the first multi-year, multi-million dollar deal for a Hollywood studio.

It is little mentioned that Arbuckle mentored and aided Buster Keaton and Charlie Chaplin as they entered the film business, before his own downfall in the early 1920s. He was accused of the rape and murder of young starlet Virginia Rappe in San Francisco in a widely-publicized case -- and thoroughly chastised by Hearst's 'trial-by newspaper' (with soaring sales) and public condemnation. His career was over, although he was eventually fully acquitted of the act after three trials. Charlie Chaplin: Charlie Chaplin, a silent actor and pantomimist, was recruited in 1913 to Keystone from an English variety act (Chaplin was touring the US with Fred Karno's theatrical company), and became Sennett's most important discovery to add to his stock company of comedic actors. Chaplin made 36 short Keystone films for producer Mack Sennett in 1914. His first film was the short Keystone comedy Making a Living (1914), released in early February of 1914, in which Chaplin played an out-of-work swindler named Edgar English (with top hat and mustache).

It was one of only a few Chaplin films where the actor did not play the Tramp character. In Chaplin's second picture, the 11-minute Kid Auto Races in Venice (1914), the first released film (on February 7, 1914) with the Little Tramp character, he attended a 'baby-cart' race in Venice, California as an obnoxious spectator who kept interrupting the filming of the auto races. Released two days later (on February 9, 1914), although filmed earlier (and considered the first Tramp film), Mabel's Strange Predicament (1914) was the one in which the immortal, trademark Tramp character was born or invented. Although not named "The Tramp" (his character was a slapstick happy Drunk or Slicker), Chaplin wore the characteristic baggy pants, floppy oversized shoes, walking cane, tight coat, and small derby (or bowler) hat and walked with a funny stride. Late in the year, Chaplin appeared as another city slicker in Sennett's first feature-length feature film, Tillie's Punctured Romance (1914) opposite co-star Mabel Normand.

It was the first feature length comedy film ever, and it was also notable as the last full-length film that Chaplin made that he didn't direct or write. In 1915, Chaplin worked for the Essanay Film Manufacturing Company (in Chicago) as writer/director and star, where he made 15 films during the year. His first Tramp masterpiece and his 6th film for Essanay (released in April), The Tramp (1915), showed evidence of the refined development of the character and his personality (with less slapstick and more emotion). Then, he went on to produce a dozen two-reelers for Mutual Film Corporation in 1916-1917. The company formed "Lone Star Studios" solely for Chaplin's films. Classics that were made included The Floorwalker (1916), The Vagabond (1916), The Pawnshop (1916), The Rink (1916), Easy Street (1917), The Cure (1917), and The Immigrant (1917).

At First National beginning in 1918 through to 1923, Chaplin made nine films for his own production company. There were one major masterpiece during this time - it was his first full-length starring feature that he directed, titled The Kid (1921) which paired him with young Jackie Coogan. Then, beginning in 1923, Chaplin began to release his own films (all feature-length, and 8 in total) through his own film studio, United Artists. These were further examples of his talent with "silent" features, even though the silent era was ending and the sound era had arrived: The Gold Rush (1925) , another full-length comedy and Chaplin's best silent film, with segments of poetic miming and classic slapstick the exquisite Modern Times (1936) , his satire on the machine-age Chaplin resisted the coming of the talkies until his first talking picture The Great Dictator (1940). Another talkie was Limelight (1952) - a film with silent comedian Buster Keaton as co-star.

Buster Keaton: One of the great silent clowns of the early comedic period was Buster Keaton, known for acrobatic visual gags, physical action, and for his deadpan, unsmiling, expression-less "stoneface." (His first name was a nickname given to him by Harry Houdini after he fell down some steps.) Keaton was first a vaudeville performer, performing and partnering quite often with former Keystone star and mentor Roscoe "Fatty" Arbuckle. He entered the profession of film-making in 1917 at the age of twenty-one as a supporting player, in his film debut The Butcher Boy (1917).

Then, he started his own production company and became an actor in his own production unit in many excellent short films (usually two-reelers) from 1920-1923, including One Week (1920), Neighbors (1920), The High Sign (1921), The Boat (1921), The Haunted House (1921), The Playhouse (1921), The Paleface (1921), Hard Luck (1921), and The Frozen North (1922), but none as a repeating character. A few years later, he also starred in a number of feature-length silents, his first being The Three Ages (1923). Among his best features were Our Hospitality (1923), The Navigator (1924), Sherlock, Jr. (1924), Go West (1925), Seven Chances (1925), and Battling Butler (1926).

His most-acclaimed feature-length production was the fast-paced Civil War adventure tale of a railroad engine called The General (1927) , which he soon followed with College (1927) and Steamboat Bill, Jr. (1928) . The latter film is known for one of the most suicidal stunts ever filmed - a falling wall with only a top-floor open window to save him from being flattened. [One of his last film appearances was as one of the 'waxworks' friends who plays bridge with silent film star Gloria Swanson in Sunset Boulevard (1950) .] Harold Lloyd: Harold Lloyd, a popular silent clown, has been dubbed the 'third' genius or master of silent comedy - after Chaplin and Keaton. [An actor/producer, he actually outgrossed his better-known counterparts, by retaining ownership of his films and their profits.] Like them, Lloyd also spent some time in the early years with Mack Sennett, became known for realistic, daredevil stunts, and for his bespectacled, neat, innocent, noble-hearted, 'average Joe' characters.

From 1915-1921, he produced a number of short films for Keystone and for major comedy producer Hal Roach, playing the character of Willie Work (debuting in his first starring film Just Nuts (1915) as a Chaplin-like character) and Lonesome Luke (first appearing in Lonesome Luke, Social Gangster (1915)). Lloyd graduated to full-length features playing the part of a normal Everyman (or "Glasses Character") or "Boy" - which debuted in the short Look Out Below (1919). His last short was Never Weaken (1921). He became most identified with this 'boy'-next-door character (normally named Harold) with his most famous trademark - horn-rimmed glasses. His most-remembered film, the feature-length Safety Last (1923) , featured his perilous, memorable climb up a tall skyscraper's face that climaxed with his hanging off a giant clock. Lloyd's career lasted 34 years with over 200 comedies (mostly short subject featurettes, but including 11 silent features and 7 sound features).

One of Lloyd's other greatest films was also his most successful, The Freshman (1925), in which he portrayed a college underclassman (Harold 'Speedy' Lamb) determined to redeem himself - on the football field. Other well-known films included Grandma's Boy (1922), Why Worry? (1923), Girl Shy (1924), The Kid Brother (1927), Speedy (1928) (his final silent film) and Movie Crazy (1932). His last film was released in 1947 - director Preston Sturges' The Sin of Harold Diddlebock (1947), retitled Mad Wednesday by co-producer Howard Hughes, re-edited and released by RKO in 1950. Harry Langdon: Another early comic performer was baby-faced, innocent, timid Harry Langdon, who also worked at Keystone. He experienced only a brief period of fame during the end of the silent era, although he could be placed in the same league as his three other comic contemporaries: Charlie Chaplin, Buster Keaton, and Harold Lloyd.

His best feature film in a short four-year film career, The Strong Man (1926), was director Frank Capra's feature-film debut. The film predated Chaplin's City Lights (1931) by several years with its plot of a meek man in love with a blind woman. Langdon also starred in two other hits: Tramp, Tramp, Tramp (1926) and Capra's Long Pants (1927) in which Langdon played his typical simple-minded, man/child role. Larry Semon: Another popular, second-level slapstick comedian in the silent era who made hundreds of two-reel shorts from 1916-1924 for Vitagraph and for the B-picture company, the Chadwick Pictures Corporation, was the charming, white-faced, smiling, and clownish Larry Semon. He began film work at Vitagraph in 1915 as comedy short gag writer and then as director in 1916.

His first feature-length film was also his best known and most influential work - a remake and adaptation of Baum's The Wizard of Oz (1925), with Semon serving as both director and star - as the Scarecrow opposite Oliver Hardy (of the comic team) who played the Tin Woodsman. The film's release was highly publicized, but the public didn't like it - and it was essentially a failed effort. Afterwards, he took a supporting role in Josef Von Sternberg's classic film Underworld (1927), and his last film, after filing for bankruptcy, was A Simple Sap (1928), released posthumously after his prematurely-short life. The 30s Clowns With the coming of sound, slapstick went into a bit of a decline and the flexible freedom of the earliest comedians was curtailed. Comedy was transformed, however, and began to be refined as an art form, with new themes, elements, and written characterizations, and comedic humor was now being derived from clever dialogue. Visual comedy remained strong throughout the 1930s, but now witty dialogue and verbal comedy were added.

Some of the great comedians or teams, including Laurel and Hardy, the Three Stooges, the Marx Brothers, and Abbott and Costello, or individuals such as radio star Jack Benny, Eddie Cantor, Joe E. Brown, W. C. Fields, and Mae West emerged. Hal Roach's company was responsible for other ground-breaking comedy shorts during the 1930s, including the popular "Our Gang" series that lasted until 1944. Laurel and Hardy: One of the greatest and most-beloved of the comedy teams was the one of British-born Stan Laurel and the fat-faced Oliver Hardy, first purposely teamed together toward the close of the silent era by producer Hal Roach in the slapstick film Slipping Wives (1926). They had first met, by accident, during the filming of Lucky Dog in 1917.

Director Leo McCarey at Hal Roach Studios recognized their potential as a team and capitalized on their contrasting, disparate physical differences (Stan: the "thin" man and Oliver: the "fat" one - each with derby hats) and classic gestures (bewildered head-scratching, tie-twiddling, eye-blinking and baby-like weeping). Although Laurel and Hardy worked together as a successful comedy team for 20 years (and were precursors of the 50s team Abbott and Costello), they were not equal partners - Stan considered himself the creative force and "brains" of the team. Their dozens of short films and twenty-seven feature-length films were produced over three decades (the 20s to the 40s), including such film classics as Sons of the Desert (1933) - arguably their best film, Way Out West (1937) , The Flying Deuces (1939), and A Chump At Oxford (1940). One of their funniest bits involved getting a piano up a set of stairs in The Music Box (1932).

Laurel and Hardy's last Hollywood film was The Bullfighters (1945), capping a teamed career of almost twenty years. They were among the few actors who successfully made the transition from silents to talkies. Plots of their hilarious films used situational mishaps or incidents to trigger chaos and personal jeopardy, usually with the dignified, superior-acting, pompous Ollie trying to succeed and boast, only to be frustrated, exasperated and sabotaged by the simple-mindedness, childishness and brainlessness of Stan. Audiences were amused by their endearing qualities of naivete, clumsiness, innocence, and stupidity as they sunk deeper and deeper into trouble, chaos, and self-destruction. The Marx Brothers: Once talkies emerged, the most famous and popular comedy team was the zany foursome of the Marx Brothers.

They were the only real-life sibling comedy group in Hollywood history: the witty, wise-cracking, ad-libbing, absurdly-punning, caustic, fast-talking Groucho (famous for his crouched walk, mustache, cigar, round glasses and leering eyes) piano-playing, broken Italian-accented Chico, famous for distorted logic the mischievous mute-pantomimist/harpist Harpo (with an old taxi horn and numerous harp solos), known for chasing girls the straight-man Zeppo (who left the other brothers in 1933 after his performance in Duck Soup (1933) , his fifth film) Their comedy was a mixture of slapstick, sophisticated verbal comedy (often absurd and risque), zany anarchistic disrespect for the establishment, nonsensical action, and inspired buffoonery. After almost two decades in vaudeville together, the brothers finally received widespread attention in their screen debut, The Cocoanuts (1929), filmed at Paramount's East Coast studios.

Next were major box-office and critical successes - the film version of their Broadway play, Animal Crackers (1930) , Horse Feathers (1932) and their last film for Paramount - the political, anti-war satire/spoof Duck Soup (1933) . The Marx Brothers further developed their unique brand of absurdist, hilarious, slapstick comedy with a change to MGM Studios in the mid-30s. MGM's productions of A Night at the Opera (1935) with its memorable scenes of the stateroom and a legal contract, and A Day at the Races (1937) were made at the height of their popularity. A frequent romantic foil for Groucho who appeared in a number of their films was Margaret Dumont, a memorable character actress. The film career of the Marx Brothers extended from 1929 to 1949. Marx Brothers Groucho, Chico and Harpo made their final film appearance as a team in Love Happy (1949), with a young 23 year-old Marilyn Monroe. Later on, Groucho became a star as an early TV game-show host. W. C. Fields: W.

C. Fields is known for his recognizable raspy voice, pool cue, oversized bulbous nose and nasal drawl, stove-pipe hat, flask of 100-proof whiskey and love of drink, caustic verbal wit and wisecracks, and irritable disdain for small children, animals, upper-class snobs and bullying wives. The vaudeville star was an inspired comedian, a master of visual gags, double-takes, casual asides and pantomime. His film debut was in the silent one-reel comedy short Pool Sharks (1915), in which he showed off his pool-playing ability, and his first sound feature film was Warners' (and First National's) pre-code musical comedy Her Majesty, Love (1931). Fields usually wrote his own scripts and produced such classics for Paramount as It's A Gift (1934) and possibly his best film, The Bank Dick (1940) , in which he credited himself as screenwriter Mahatma Kane Jeeves.

Another wacky contribution was Never Give a Sucker an Even Break (1941) (written with the pseudonym of Otis Criblecoblis) - his last starring role in a feature-length film. Fields was a natural while portraying a hen-pecked husband, a phony, an eccentric, a windbag, a non-conformist schemer, or a pompous charlatan. Mae West: Another contemporary, wise-cracking, drawling performer was the bold, blowsy and flirtatious Mae West who enjoyed titillating and shocking audiences with double entendre dialogue, sexual innuendo and a desire for sex, especially before the advent of the Hays Production Code. [One of her typical lines was: "Listen, when women go wrong, men go right after them."] Mae West starred in her own films, notably as a buxom burlesque queen and singer in an 1890s saloon in She Done Him Wrong (1933) , and as a circus floozy in I'm No Angel (1933) . She also appeared with Fields in their only film together: My Little Chickadee (1940).

Question: Which brothers' last film was called Love Happy?
Answer: Marx Brothers