The "modern" comedy can trace is roots back through a number of places. From as far back as Ancient Greece comedy has been one of the most pleasurable forms of entertainment. From the plays of Shakespeare, to the vaudeville era, and all the way into Hollywood's silent era, comedy remains highly in demand. The two main paths of comedy's evolution, especially within cinema, have been the screwball comedy (sometimes referred to as the romantic comedy) and the anarchistic comedy. (Horton, pg. 41-43). Although there are many differences in these two types of comedies, especially when taking into account the advent of the Production Code, there are some similar issues which arise in screwball and anarchistic films. One of the similarities is the "undermining" of what is considered normal behavior and social institutions of the time, as Geoff King states.
[...] The way that Nora talks to Nick, hits him every once in awhile, sleuths along with him, and even matches him in drinking in their first scene together critiques the social norm of the time. At this time, women were a bit lesser in society. However, Nora is certainly not lesser than Nick. She works against the social norm and asserts herself as not only a strong woman; she is Nick's equal. Beyond this, she is Nick's only equal, because none of the other men can match him. [...]
[...] Although this film serves as an example of a flimsy plot that is simply used as a setting for jokes, it is cannot be doubted that it makes social commentaries that are insightful as any screwball comedy. The mixing of high class and low class makes its commentary possibly, even more impressive than The Thin Man, which was nominated for its screenplay. Both screwball comedies and anarchistic comedies have the potential to prove Geoff King's statement that “comedy disrupts the dominant expectations.” Works Cited Animal Crackers. Dir. Victor Heerman. Perfs. Groucho Marx, Chico Marx, Harpo Marx, Zeppo Marx. Paramount Studios Beach, Christopher. Class, Language, and American Film Comedy. Troubled Paradise”. [...]
[...] Almost every important character in this film is upper class, and nearly all of them, with the possible exception of the protagonists, Nick and Nora, are either implicated in theft, lying, stealing, infidelity, or criminal activity. A great deal of this dishonesty is motivated through the want for more money that is tied into Mr. Wyman's inheritance. The audience can also look at the fact, that although (as stated) he is working for good for most of the film, even Nick is not completely forthright with the police throughout the entire film. [...]
[...] The Captain and his secretary, and the lowly musicians are all announced upon arrival, and later Ravelli and The Professor (Groucho and Harpo) end up working to steal the painting for one the upper-class Arabella. This film shows a separation between classes and is undoubtedly against the upper class. “Animal Cracks is most clearly a satire of high society”. (Beach, pg. 38). The Marx Brothers resented people who had inherited wealth, and the high social standing that came with it, because they had worked and saved for a good deal of their lives, and had recently lost all of their wealth due to the Stock Market Crash. (Beach, pg. [...]
[...] The film ends with Parker being escalated to a higher class and The Professor, one of the musicians getting the last laugh. Clearly the film is in favor of the commoner, not the high- class members. Ethnicity is slightly examined when Chandler asks how Mr. Ravelli he got to be Italian” (Beach, pg. 40). Chico Marx's ethnicity and his fake identity as an Italian are on display here. Later Mr. Ravelli is referred to as Mr. Ravioli, although we can assume this is a mistake made by the young Arabella. [...]
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