People From Marx Brothers Movies

The bushy-browed, cigar-smoking wise-cracker with the painted-on moustache and stooped walk was the leader of The Marx Brothers. With one-liners that were often double entendres, Groucho never cursed in any of his performances and said he never wanted to be known as a dirty comic. With a great love of music and singing (The Marx Brothers started as a singing group), one of the things Groucho was best known for was his rendition of the song "Lydia the Tattooed Lady."

With poofy, curly red hair, a top hat and a horn, the lovable mute was the favorite of the Marx Brothers. Though chasing women was a favorite routine of his in the movies, Harpo was a devoted father and husband. He adopted the mute routine in vaudeville and carried it over to the films. Harpo was an accomplished self-taught harpist whose musical numbers would many times bring tears to the eyes of the audience of an otherwise hilarious movie.

As a kid trying to negotiate his way through various gang territories to a floating crap game or a new pool hall where he was not yet known as a hustler, Leonard (Chico) Marx learned to fake several accents. Because he later employed an Italian accent in the Marx Brothers' act, people assumed his name was pronounced "Cheeko." Instead, Leonard was dubbed "Chicko" for his other consuming passion, women (or "chicks"), at which he was more successful than gambling, but when a typesetter dropped the "k" out of his name, the brothers let it stay as Chico. Chico was the brother who guided the Marxes to stardom. He took over the act's managment (amicably) from their mother, Minnie, and through audacity and charm, Chico secured the Brothers their first international (London) booking, their first Broadway show and their MGM contract with Irving Thalberg, among other successes.

The youngest of The Marx Brothers, Zeppo was put into the role of the straight man after his brother Gummo left the act. Zeppo also acted as an understudy to all three of his brothers, and he has been said to have played Grouchos part better than Groucho himself. After playing small parts in the first five Marx Brothers movies, Zeppo felt his talent wasn't being used to its full extent and left the act to join Gummo as an agent. Somewhat of a mechanical whiz, Zeppo invented a wristwatch that would monitor the pulse rate of cardiac patients, and his company, Marman Products, produced clamping devices which were used in the first atomic bomb raids over Japan in 1945. Zeppo died on November 30, 1979, from cancer.

Margaret Dumont would not consider it a tragedy that she is best-known for her performances as the ultimate straight woman in seven of the Marx Brothers' films (including most of their best). It is a popular myth that she never understood their jokes (offscreen and on); restored footage of Groucho's "Hooray for Captain Spaulding" shows her laughing at his ad libs. Apart from a small role in a 1917 Dickens adaptation, she spent her early career on the stage, ending up with the Marxes in the late 1920s in the stage versions of The Cocoanuts (1929) and Animal Crackers (1930), and was given a Paramount contract at the same time they were. She played similar roles alongside other great comedians, including W.C. Fields, Laurel & Hardy and Jack Benny and also played straight dramatic parts (her chief love), but few of them made much impact - it is as Groucho Marx's foil that she ranks among the immortals, and she died shortly after being reunited with him on The Hollywood Palace (1964).

Thelma Todd was born in Lawrence, Massachusetts, an industrial city near the New Hampshire state line. She was a lovely child with good academic tendencies, so much so that she decided early on to become a schoolteacher. After high school she went on to college but at her mother's insistence entered several beauty contests (apparently her mother wanted her to be more than just a "schoolmarm"). Thelma was so successful in these endeavors that she entered on the state level and won the title of "Miss Massachusetts" in 1925 and went on to the "Miss America" pageant; though she didn't win, the pageant let her be seen by talent scouts looking for fresh new faces to showcase in films. She began to appear in one- and two-reel shorts, mostly comedy, which showcased her keen comic timing and aptitude for physical comedy--unusual in such a beautiful woman.

She had been making shorts for Hal Roach when she was signed to Paramount Pictures. Her first role--at age 21--was as Lorraine Lane in 1927's Fascinating Youth (1926), a romantic comedy that was Paramount's showcase vehicle for its new stars. Thelma received minor billing in another film that year, God Gave Me Twenty Cents (1926). The next year she starred with Gary Cooper and William Powell in the western Nevada (1927). That year also saw her in three more films, with The Gay Defender (1927) being the most notable. It starred Richard Dix as a man falsely accused of murder.

As the 1920s closed, Thelma began to get parts in more and more films. In 1928 and 1929 alone she was featured in 20 pictures, and not just comedies--she also did dramas and gothic horror films. Unlike many silent-era stars whose voices didn't fit their image or screen persona, Thelma's did. She had a bright, breezy, clear voice with a pleasant trace of a somewhat-aristocratic but unsnobbish New England accent and easily made the transition to sound films. In 1930 she added 14 more pictures to her resume, with Dollar Dizzy (1930) and Follow Thru (1930) being the most notable. The latter was a musical with Thelma playing a rival to Nancy Carroll for the affections of Buddy Rogers. It was a box-office hit, as was the stage production on which it was based. The following year Thelma appeared in 14 more films, among them Let's Do Things (1931), Speak Easily (1932), The Old Bull (1932), and On the Loose (1931). Her most successful film that year, however, was the Marx Brothers farce Monkey Business (1931). While critics gave the film mixed reviews, the public loved it. In 1932 Thelma appeared in another Marx Brothers film directed by Norman Z. McLeod, Horse Feathers (1932). She also starred in This Is the Night (1932), a profitable film which featured Cary Grant in his first major role. In 1934 Thelma made 16 features, but her career would soon soon come to a grinding halt. In 1935 she appeared in such films as Twin Triplets (1935) and The Misses Stooge (1935), showcasing her considerable comic talents. She also proved to be a savvy businesswoman with the opening of "Thelma Todd's Sidewalk Café", a nightclub/restaurant that catered to show-business people. Unfortunately, it also attracted some shady underworld types as well, and there were rumors that they were trying to take over her club and use it as a gambling establishment to fleece the wealthy Hollywood crowd. According to these tales, Thelma and her boyfriend, director Roland West, wouldn't sell their establishment once they found out what the gangsters had in mind, which incurred the enmity of the wrong people with whom to have differences of opinion. Whether or not the stories were true, on December 16, 1935, 29-year-old Thelma was found dead in her car in her garage in Los Angeles. Her death was ruled suicide-by-carbon-monoxide-poisoning. At the time, as today, many felt that her death was actually a murder connected to the goings-on at her club, a theory that was lent credence by the fact that no one who knew her had ever seen her depressed or morose enough to worry about her committing suicide. Another factor that aroused suspicion was that her death was given a cursory investigation by the--at the time--notoriously corrupt Los Angeles County District Attorney's Office and the case was quickly and unceremoniously closed. Her death has remained controversial to this day.

Three films she made before her death weren't released until the following year: Hot Money (1936), An All American Toothache (1936), and The Bohemian Girl (1936). The latter saw her quite substantial role cut down so much that she was barely glimpsed in the picture. Thelma had made an amazing 115 films in such a short career, and her beauty and talent would no doubt have taken her right to the top if not for her untimely demise.

Louis Sorin was born on 23 September 1893 in New York City, New York, USA. He was an actor, known for Animal Crackers (1930), Mother's Boy (1929) and Naked City (1958). He was married to Lenore Wein. He died on 14 December 1961 in New York City, New York, USA.

Robert Greig was born on 27 December 1879 in Melbourne, Victoria, Australia. He was an actor, known for Sullivan's Travels (1941), Animal Crackers (1930) and The Lady Eve (1941). He was married to Beatrice Denver Holloway. He died on 27 June 1958 in Los Angeles, California, USA.

Kay Francis is possibly the biggest of the 'forgotten stars' from Hollywood's Golden Era. Yet, for a while in the 1930s she ranked as one of America's most popular actresses, tagged the 'Queen of Warner Brothers'. By 1935, she earned a yearly salary of $115,000 (compared to Bette Davis with $18,000). The daughter of actress Katherine Clinton and businessman Joseph Gibbs, Kay did not start her working life in show business but sold real estate and arranged extravagant parties for wealthy socialites. Following her marriage in 1922 to James Dwight Francis, the son of a moneyed family, Kay adopted the surname Francis. Her first acting job was in a modernized 1925 version of 'Hamlet' (as the Player Queen), performing as 'Katharine Francis'. She then played Marjorie Grey in the melodrama "Crime" (1927) and appeared in the Ring Lardner play "Elmer the Great" (1928), produced by George M. Cohan and starring Walter Huston as Elmer Kane. On the strength of her stage work, Kay was screen-tested by Paramount and subsequently offered a contract (1929-31). A brief affair with writer/director Edmund Goulding (some time around April 1928) may also have been a contributing factor.

She had a bit in the first Marx Brothers outing, The Cocoanuts (1929), and then graduated to playing sophisticated seductresses opposite stars like William Powell and Ronald Colman. She appeared in the Lubitsch comedy Trouble in Paradise (1932), though being unhappy about being billed below Miriam Hopkins in the picture. One of her best early films was the comedy/drama One Way Passage (1932), in which Kay portrayed a gravely-ill baroness opposite Powell's gentleman burglar. This doomed romance, interlaced with witty dialogue, was described by a reviewer as 'spilled cocktail and love at first sight'.

Paramount, at the time well-stocked with female stars but experiencing financial problems, decided to let Kay move to Warner Brothers. There she would remain for the rest of the decade. A tall, attractive, gray-eyed brunette with undeniable style and poise, she soon acquired a reputation as Hollywood's 'best dressed woman', wearing the most glamorous gowns designed by great studio costumers like Orry-Kelly, Travis Banton and Adrian. Female audiences, in particular, often flocked to see Kay Francis pictures simply to appreciate her sumptuous wardrobe. For her part, Kay spent a lot of time and effort on collaborative efforts with costume designers to select the right clothes for the parts she played. Dorothy Jeakins believed, that Kay possessed an 'innate sense of style'.

By the mid-1930s, Kay earned $5,250 per week and was voted by Variety as Hollywood's sixth most popular star. Numerous magazine articles were written about every detail of her life in and off the studio lot. She had major hits with I Found Stella Parish (1935) and Confession (1937), both excellent money-spinners for the studio. While much was made at the time (and since) of her famous lisp, this had not hitherto been a significant detriment to Kay's career. At least, not until her falling out with the studio executives who thought her salary too excessive. The tight control the studio exercised over the roles she played on screen caused her to file a lawsuit against Warner Brothers in an effort to escape her contract. It had all started to go wrong for her when she was assigned the role of 'women's picture star', effectively typecasting her in sentimental melodramas, earnest biopics (The White Angel (1936), and three-handkerchief tearjerkers like My Bill (1938), her script filled with Rs and Ls as chastisement for bucking the system. Though she still managed to give several good performances, the writing was now on the wall. By the end of the decade, the 'Queen of Warner Brothers' mantle had passed on to Bette Davis.

During the mid-1940s, Kay co-produced several B-movies as vehicles for herself at Monogram, then made a brief return to stage work, acting in summer stock before retiring permanently in 1952. She spent the remainder of her life in virtual seclusion in New York and in her estate near Falmouth, Cape Cod. She left some of her estate (in excess of one million dollars) to an organization training guide dogs for the blind, Seeing Eye Inc. Her surviving personal papers are accessible at the Wesleyan University Cinema Archives.

Tragic songstress Lillian Roth (nee Lillian Rutstein) was born in Boston, Massachusetts, on December 13, 1910. She was given her first name in honor of singer Lillian Russell. She was the daughter of stage parents who groomed her and younger sister Ann for stardom at an early age.

The girls did not disappoint. In 1916, Lillian moved with her family to New York City, where the youngsters found work as extras in films. Lillian's precocious talent was picked up on quickly, and at age six she made her Broadway debut in "The Inner Man." All the while, the girls trained at the Professional Children's School. They became billed as "Broadway's Youngest Stars" after putting together a successful vaudeville tour billed as "The Roth Kids." In this act Lillian did serious dramatic impersonations of famous stars of the day, with Anna delivering amusing satires of Lillian's readings.

Lillian's vocal talents also impressed, and she was cast in the show "Artists and Models" at age 15. Shy by nature, the ever-increasing thrust into the limelight caused Lillian to develop severe nervous disorders, but somehow she persevered. At age 17, Florenz Ziegfeld Jr. signed her up as an ingénue headliner in his new show "Midnight Frolics."

This attention led to impresario Ernst Lubitsch's invitation to Hollywood for his glossy musical The Love Parade (1929) with Maurice Chevalier and Jeanette MacDonald. Lillian was a hit in her second lead role. She also impressed as Huguette in The Vagabond King (1930), a rather dated early musical talkie. Paramount cast her in Honey (1930), in which she debuted her signature standard "Sing You Sinners." Other roles included Cecil B. DeMille's Madam Satan (1930) and the Marx Brothers' vehicle Animal Crackers (1930), which countered her vocal stylings with the boys' zany antics.

The sudden death of her fiancé in the early '30s drove Lillian over the brink. She found that liquor gave her a calming sensation, which led to a full-scale addiction. Marriages, one to renowned Municipal Court Justice Benjamin Shalleck, came and went at a steady pace. There would be six in all. Her career deteriorated as she spiraled further and further down into alcoholic delirium.

Decades would be spent in and out of mental institutions until she met and married T. Burt McGuire, Jr., a former alcoholic, in the late '40s. With his support, Lillian slowly revived her career with club work. She became a singing sensation again and toured throughout the world, receiving ecstatic reviews wherever she went. Lillian's daring autobiography, "I'll Cry Tomorrow," was published in 1954 and topped The New York Times Best Seller list. She left out few details of her sordid past and battles with substance abuse. She became the first celebrity to associate her name with alcoholism and Alcoholics Anonymous, putting a well-known face on the disease (as Rock Hudson would later do for AIDS, albeit less willingly) while doing her part in helping to remove the social stigma.

A bold, no-holds-barred film adaptation of Lillian's book followed. Susan Hayward's gutsy portrayal of Lillian won her a fourth Oscar nomination. Lillian herself would return to films in her twilight years, but only in small roles and to minor fanfare. A beautiful and touching vocalist and actress, she put her own wonderful spin on such vintage songs as "When the Red, Red Robin," "I Wish I Had My Old Gal Back Again," and "Eadie Was a Lady." She overcame unimaginable odds and somehow lived to tell about it.

Lillian's turbulent life came to an end in New York City after suffering a fatal stroke on May 12, 1980. She was 69.

Once a boxer, brawny character actor Tom Kennedy began his film career early in the silent era. He frequently played big, dumb, likable, working-class types, such as in The Case of the Stuttering Bishop (1937). He also worked with W.C. Fields, The Marx Brothers, and Stan Laurel and Oliver Hardy in a career that lasted until his death at the age of 80.

Harry Woods was born on 5 May 1889 in Cleveland, Ohio, USA. He was an actor, known for The Viking (1928), Monkey Business (1931) and Colorado Territory (1949). He was married to Helen P. Hookenberry. He died on 28 December 1968 in Los Angeles, California, USA.

Bobby Barber was born on 18 December 1894 in New York City, New York, USA. He was an actor, known for Adventures of Superman (1952), The Abbott and Costello Show (1952) and Time to Expire (1929). He was married to Maxine. He died on 24 May 1976 in Seal Beach, California, USA.

Brawn won out over brain as well when it came to wrestler athlete Nat Pendleton's professional movie career. For two decades, this massively-built, dark-haired, good-looking lug played a number of kind-hearted lunkheads, goons, henchmen and Joe Palooka-like buffoons.

Nathaniel Greene Pendleton was born on August 9, 1895 on a farm close to Davenport, Iowa. The son of Nathaniel G. Pendleton, a lawyer, and mother Adelaide Elizabeth Johnson, the family moved to Cincinnati, Ohio when Nat was a mere two months of age. His uncle was well-known Cincinnati-born D.W. Griffith silent player Arthur V. Johnson.

After the family's move from Ohio to New York, Nat became star of Brooklyn's Poly Prep High School wrestling team and later went to Collumbia University where he became a popular athletic presence, never losing a match in college and serving on the 1915 team as their captain. Following a couple of national titles, he competed at the Olympics in Antwerp, Belgium in 1920 and won the heavyweight silver medal in what many say was a controversial decision (to Pendleton's advantage). Nat turned pro after this and was undefeated in his two years of competition. He grew disillusioned when he was unable to arrange money bouts with Jack Dempsey and Ed Lewis aka "Strangler" reportedly due to his lack of a flashy enough reputation.

With his athletic image intact, Nat decided to follow his Uncle Arthur into acting in the mid-20s, making his debut in the film The Hoosier Schoolmaster (1924). Several other films followed, mostly in sports-minded themes. He also set his powerful frame on the Broadway stage, with roles in "Naughty Cinderella" (1925), "The Grey Fox" (1928) and as Marcel the Great in the hit comedy "His Girl Friday" (1929). A truckload of films came his way by the early 1930s, including The Spirit of Notre Dame (1931) in which he played an assistant coach, and in both the Marx Bros.' farcical comedy Horse Feathers (1932) with Thelma Todd, and Deception (1932), again with Todd, based on a story Pendleton himself wrote. He played football stars in both. In addition, he and Ward Bond played wrestlers in the Wallace Beery starrer Flesh (1932).

Among Pendleton's other film highlights include his gangsters in Sing and Like It (1934) with Zasu Pitts and The Gay Bride (1934) with Carole Lombard; his policemen in The Thin Man (1934) and Another Thin Man (1939); strongman Sandow in The Great Ziegfeld (1936); another dimbulb wrestler in Swing Your Lady (1938) starring Humphrey Bogart and Louise Fazenda; a barkeep in Northwest Passage (1940) starring Spencer Tracy; _a haranguing officer/nemesis to Abbott and Costello in Buck Privates (1941) and several Dr. Kildare medical dramas as hunky ambulance driver/comedy relief Joe Wayman. A rare prime starring role was the title part as Top Sergeant Mulligan (1941) for Poverty Row's Monogram Pictures.

Following his final film part reprising the badgering sergeant in Buck Privates Come Home (1947), Nat turned to TV before retiring in 1956. The twice-married actor/wrestler died of a heart attack on October 12, 1967 at age 72.