Friday, November 26, 2021

GROUCHO, HARPO, CHICO, ZEPPO, AND GUMMO: HOW THE MARX BROS. GOT THEIR NAMES




by Taylor Zaccario 

Any true fan of the Marx Brothers, the classic comedy team, knows Art Fisher. He is the vaudevillian who bequeathed the brothers their now famous nicknames during a backroom game of poker. Four men were transformed from Julius, Arthur, Leonard, and Milton in Groucho, Harpo, Chico, and Gummo. (Zeppo came later). 

But why did Fisher give them the monikers that he did? The answers are convoluted and contradictory, thanks in no small part to the Marxes’ own retellings and explanations. 

In his superlative biography of the brothers' early stage careers in vaudeville, Four of the Three Musketeers: The Marx Brothers on Stage, Robert S. Bader confirms that the Marxes were in Galesburg, Illinois beginning on 14 May 1914. They were still toiling away in vaudeville, and on the bill with them was Art Fisher. Likely, the poker game took place during that week. A popular comic strip, known by many names including Sherlocko the Monk and Knocko the Monk, was inspiring vaudevillians to assume their own nicknames ending in -o. 


Harpo Marx says in his autobiography, Harpo Speaks, that as Fisher dealt a card to each brother, he gave them one of these “-o” nicknames, based on their personalities and/or interests. To Arthur, who played the harp, he gave the nickname Harpo. 


                                                                             "Harpo Marx" 


Leonard was dubbed Chicko, in honor of his favorite pastime: chasing the ladies aka the "chickens" aka the "chicks". The name was always pronounced “Chick-oh”, not “Cheek-o". (The pronunciation is also a key way to single out a real Marx Brothers fan from a poser). According to Harpo, a typesetter accidentally left off the “k” one night. Chico never felt the need to correct it, probably because he was busy with a chicken. The brothers always retained the original pronunciation. 


Bader provides another reason Leonard might have become Chico. Citing a 1923 Variety article, the term “chicken chasing” referred to the practice by theater owners and bookers of only hiring women willing to succumb to their sexual advances. Did Chico Marx engage in Harvey Weinstein-esque casting couch tactics? No one will ever know for certain. The brothers in their interviews and books never cite this possible reason, likely because Chico was a married man with a daughter. 


                                                                        "Chico Marx" 

Least well known of the brothers is Gummo, who left the act before they became film stars. He became a very successful agent and manager. Gummo, by his own accounts, was the least talented and had no interest in being on stage. However, he is often said to be the best dancer in the group. No surprise then that the various backstories for his nickname relate to feet. 


Plagued by perpetual holes in his shoes, Gummo took to wearing gumshoes. Another variation is that Gummo creeped around backstage like an old-fashioned detective (“a gumshoe”). He half-joked in an interview once that he was called Gummo “because [he’d] never stick to the stage.”


                                                                         "Gummo Marx" 

Gummo served as the straight man in the Marxes' stage acts, a role youngest brother Herbert would inherit. Herbert was not present at the card game, but the origin of his nickname, Zeppo, is perhaps the most odd and remains a subject of discourse. The zeppelin is often credited as the source of Zeppo’s name. Groucho backs this up during his one-man show at Carnegie Hall in 1972, claiming Zeppo was born around the same time the zeppelins began making their first transatlantic flights. Even Zeppo himself, in a 1979 BBC interview, confirms this. In a behind the scenes photo from the set of Monkey Business (1931)an illustrated zeppelin airship appears on the back of Zeppo’s canvas chair. 


Unfortunately, history doesn’t support Groucho or Zeppo. Zeppo was born in 1901; the first transatlantic flight made by a zeppelin was not until 1924. 


                                                                              "Zeppo Marx" 

In that very same interview with the BBC, Zeppo gives a contradictory account of his name, one which Gummo and Chico’s daughter, Maxine, recount in separate interviews. The brothers' parents bought a farm outside Chicago, and the brothers got to calling each other by stereotypical rural names like Zeke and Lum. Herbert became Zeb, which morphed into Zeppo. Harpo provides another explanation in his autobiography. 


As Harpo tells it, Herbert was nicknamed Zippo after "Mr. Zippo", a popular chimpanzee act.  Both Herbert and the chimpanzee apparently had an affinity for acrobatics. Herbert disliked being named after a simian and insisted the name become Zeppo. Bader believes this story in Harpo Speaks is a kind gesture on Harpo’s part to spare his younger brother more embarrassment. Zeppo was likely named after a circus freak named Zip the Pinhead. 


Born William Henry Johnson, Zip the Pinhead was displayed in P.T. Barnum’s American Museum in New York, the hometown of all 5 brothers. Johnston likely suffered from microcephaly, a medical condition resulting in a smaller-than-normal head and brain. There is a visual similarity between Johnson and Zeppo. Bader posits that the name likely started as a cruel taunt by Zeppo’s older brothers. 


And then there’s the one and only Groucho. 


                                                                                        "Groucho Marx"


Born Julius Henry Marx, many who knew him believe the origin of his nickname was obvious: he was grouchy. Groucho himself said, “I was always stern and serious.” Others attribute the name to his grouch-bag, a money pouch that vaudevillians wore around their necks to keep their money and contraband in.  


Despite Groucho’s insistence that it was his temperament, both Harpo and Chico cite the grouch-bag. Groucho would claim later in life that he was named after “Groucho the Monk”, a supporting character in Knocko the Monk, the very same comic strip that had inspired Art Fisher to give the nicknames to begin with.                               



While the Art Fisher story is almost universally accepted as the origin, Zeppo, the one brother not at the famed poker game, gave an entirely different account of events. In an interview with a BBC television series called 
The Hollywood Greats, Zeppo claims the brothers received the nicknames from a group of German acrobats that were sharing a dressing room with the Marxes. Due to their lack of English, the acrobats tagged the brothers with the nicknames. The authenticity of the story is almost universally rejected and only Zeppo has ever credited it. 

Perhaps he was just ticked off about the whole pinhead thing. 

-T.Z.



Sunday, November 21, 2021

MORE THAN THE JOURNEYMAN: AN APPRECIATION OF JOE JOHNSTON


by Taylor Zaccario 

Why doesn’t director Joe Johnston get the love and praise he deserves? The man has been involved with some of the biggest films of the past 45 years, but never gets the same adulation as his contemporaries like Steven Spielberg and George Lucas. Okay, so he didn’t direct Saving Private Ryan. Big deal!  

Johnston has, in his own way, contributed to major aspects of our pop culture, and the time has come to give the gentleman his due. 

His skills as a talented craftsman rarely come into question, but his films are often snobbishly shrugged off as popcorn fluff, overloaded with too much butter a.k.a. heavy special effects at the expense of characterization and story. 


This is horse pucky. 


True, special effects are a major component in most of Johnston’s films. That is a product of the types of stories Johnston tells on the big screen. Big tales that need big special effects. 


However, don’t be fooled into assuming that special effects equal hack. Not every director has the requisite abilities to employ effects competently in their movies. We’ve seen it many times: Films with overblown, poorly constructed, and sloppily integrated visual effects; directors using effects as a crutch, propping up films suffering from weak scripts and lame characters. 


Johnston, on the other hand, uses his sublime mastery of visual effects to deftly build worlds in which his stories unfold and his characters breath. Not everyone of his films is successful, but don’t forget, Spielberg directed 1941. 


Johnston’s reputation as a “special effects” director is born out of his career beginnings. He started as the visual effects supervisor on a little known film called Star Wars (1977). He worked in similar capacities on three equally obscure movies called The Empire Strikes Back (1980), Return of the Jedi (1983) and Raiders of the Lost Ark (1981). 


It was in The Empire Strikes Back that the bounty hunter Boba Fett first graced movie screens. The design of his iconic armor — which can be seen on the small screen in his own Disney+ series — is credited to Johnston and Ralph McQuarrie. 





Johnston’s association with Lucasfilm was vitally fruitful to his career and extended to some lesser remembered projects. He served as production designer on the two Ewok spin-off films, the mostly forgotten
Caravan of Courage: An Ewok Adventure (1984) and its very forgotten sequel, Ewoks: The Battle for Endor (1985). He wrote and illustrated the Ewok novel, The Adventures of Teebo: A Tale of Magic and Suspense. And lest not forget that episode of the 1985 animated series Star Wars: Droids that Johnston provided the script for. 





The biggest boon to Johnston was George Lucas’s encouragement to start directing. Johnston finally did when he made his directorial debut with
Honey, I Shrunk the Kids (1989). An unexpected box office success, the film set the template for most of the films to populate Johnston’s filmography: family fun, a touch of fantasy/science-fiction and, yes, a dose of special effects. 

His follow-up films, The Rocketeer (1991) and The Pagemaster (1994), didn’t match the success of his first but each have gone on to become well-loved cult classics. It was Jumanji (1995) that gave Johnston another box office smash and another long-running franchise to his name. 

Johnston stepped away from blockbusters to the helm the (ironically) more grounded October Sky (1999), the story of a coal miner's son who takes up rocketry. That film received generally positive reviews and proved Johnston’s aptitude for visual storytelling did not rely solely on big budgets and big effects. 


Laura Dern was in that cast, and Johnston would direct her again when his old buddy Steven Spielberg passed him the reins to Jurassic Park III. Though the film does make one question whether Jurassic Park had the legs to be a franchise at all, the movie contains all of Johnston’s trademark fun and is a pleasant choice for whiling-away a Sunday afternoon. 


Like any director, Johnston has his turkeys, such as horse-turkey Hidalgo (2004). He’s also had the unfortunate luck of being called in to resuscitate troubled productions like The Wolfman (2010) and The Nutcracker and the Four Realms (2018)Both were sinking ships before Johnston came on board. But what a testament to Johnston’s reputation as a competent filmmaker that studios seek him out for help and guidance when their productions smash into an iceberg.  


It’s a shame when this reputation as a reliable craftsman is used against him. His critics and detractors will often label Johnston as a journeyman director. This term refers to a filmmaker who, despite being talented, has no distinctive style of their own, making them apt to direct a variety of genres and types of films. They are considered hired guns, willing to bow down at the altars of studios. They are not considered artists. 


Joe Johnston is an artist. 


He is a literal artist, and he is a film artist. Anyone who saw Captain America: The First Avenger (2011) could easily identify it as the work of the same director behind 

The Rocketeer (assuming, of course, they actually saw The Rocketeer). I won’t claim Johnston possess the same identifiable style as directors like Tim Burton or the Coen brothers. You could pick out their films from still images alone. You can’t necessarily do that with Johnston’s oeuvre. 


However, that should not diminish Johnston’s standing as an artist. A journeyman can be an artist and vice-visa. Not every director needs to be an auteur. A good director needs only to make a good film. Johnston has made more than his share. 


An under-appreciated hero of many beloved franchises in cinema history, and a reliable, skilled director of his own equally treasured films, Joe Johnston’s legacy should be both acknowledged and secured.  


Okay, so he didn’t direct Jaws. Neither did you. 


- T.Z. 








Friday, November 19, 2021

EPISODE 3 - "SUNDAYS IN THE PARK WITH DINOSAURS"


We doubt the American Film Institute will ever do a salute to Jurassic Park III, and we know a Criterion Collection blu-ray release is unlikely. Nonetheless, JP III remains a favorite of our hosts.  




Jurassic Park III managed to survive a very troubled development, obvious in the final film. This was the first installment in the franchise not adapted directly from a 

Michael Crichton novel. Some early drafts of the script had Dr. Alan Grant living on the island like Robinson Crusoe or like Tom Hanks in that movie with the volleyball. 


A separate draft featured a group of teenagers stranded on the island, which makes us assume the velociraptors wielded machetes, and the T-rex donned a hockey mask. Foreshadowing Jurassic World, there was even a scene involving a motorcycle chase. (Here's hoping it was the dinosaurs actually driving the motorcycles.) 


Ultimately, these supremely moronic ideas were abandoned for less moronic ideas. 



Sam Neill (Alan Grant) and Laura Dern (Ellie Sattler) return to the franchise after both sat out the second film, thus making the Jurassic Park franchise one of the strangest when it comes to cast reprisals. (JP 1: Grant, Sattler, Ian Malcolm; JP 2: Malcolm; JP 3: Grant, Sattler -- just weird) 


Newcomers include: a totally out of place William H. Macy, a megaphone-toting TeĆ” Leoni, Dickie Moltisanti aka Alessandro Nivola, and the late, great Michael Jeter, portraying the only character you don't want to punch in the mouth. 


Director Joe Johnston — a favorite of our hosts — does his very best to salvage a hackneyed, uninventive, hodgepodge of a screenplay into a mostly entertaining jungle adventure. 


Perhaps the film’s greatest contribution to world history is that it inspired this entire podcast! 


Join Taylor and Nick as they delve too deep into Jurassic Park III, with an analysis no one— and we mean NO ONE— has ever wasted so much time on. 





Thursday, November 18, 2021

EPISODE 2 - "POMME FRITES!!!"

In the first installment of our mini episodes, hosts Taylor and Nick serve up some recommendations for lesser known films that you might want to take a gander at. 


First up, Taylor recommends a forgotten gem from director Nicholas Meyer. Time After Time (1979) tells the sweeping tale of H.G. Welles as he travels through time to hunt for Jack the Ripper and a quarter pounder with cheese. 






Next, Nick recommends Poseidon (2006), the remake of the classic 70s disaster movie. The original featured actress Shelley Winters swimming 

in pantyhose, this one has Fergie singing on board the doomed ship. 

Lucky 

them:









EPISODE 1 - "WE LOVE YOU, M.C. GAINEY!"


Welcome to the show! 


In our premiere episode, Taylor and Nick bring to you a game they’ve played in swimming pools all over Central Florida. 


The game is simple: one of our hosts says, without inflection or emotion, a line from an under-appreciated movie. The other host then guesses what the film is. Easy, right? Not exactly Monopoly Jr. 


Some of the movies touched on in this episode include: 


Frank Marshall’s terrific tongue-in-cheek horror flick, Arachnophobia (1990). Featuring Jeff Daniels and a scene stealing performance from Mr. John Goodman. 




The Great Muppet Caper (1981), the only one of the classic Muppet films to have Jim Henson in the director’s chair: 




And The Country Bears (2002). What can we say about The Country Bears? Surprisingly much. Look at poor Christopher Walken: 




Some other movies touched on this episode include: Addams Family Values, Club Paradise, Spaceballs and Free Willy: Escape from Pirate's Cove


C'mon. Who else is talking about Free Willy 4? You got to listen just for that! 



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