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Meet the ‘Stomatognasi System’: an Overview of 10th

Ehmm, akhirnya setelah setahun lebih, tiba juga waktu untuk belajar kedokteran gigi full. Sambut, blok 10 kbk di Fakultas Kedokteran Gigi USU, sistem stomatognasi, dengan dua mata kuliah utama: Bilogi Oral dan Radiologi Dental.

Melihat Jadwal blok 10 ini, mungkin banyak mahasiswa yang kecewa (khususnya yang berasal dari luar kota dan luar pulau) karena Libur Lebarannya sangat-sangat sedikit. Ditambah lagi diapit dengan Diskusi Kelompok sehari sebelum Libur dan Praktikum di hari pertama masuk kuliah. Benar-benar alasan yang bagus untuk protes.

Tapi mau protes bagaimanapun juga, tetap saja, jadwal itu tidak akan berubah. Walau berat, terima saja dengan besar hati. Walau saya sendiri juga sulit menerimanya, tapi ingat, mengeluh tidak akan merubah apa-apa.

Ingat cepat tamat biar tambah semangat. Okei.

Berikut review ‘alur’ dari blok 10 dilihat dari sudut pandang Mahasiswa yang suka akan waktu luang. Enjoy it.

Review of 10th

Start from 30/10~2010

Minggu 1

Total Waktu Mandiri         : 17 Jam

Jumlah Praktikum              : 2 (Biologi Oral)

Jumlah Diskusi Pemicu       : 0

Presentasi mahasiswa        : 2 (Imunologi penyakit rahang, wajah, dan sendi & Teori proses menua)

Flexibel Day                     : Sabtu (4/9) : kuliah hanya sampai pukul 12.00+Weekend)

Minggu 2 (Include Libur Lebaran : 4 hari)

Total Waktu Mandiri    : 4 Jam

Jumlah Praktikum         : 0

Jumlah Diskusi Pemicu : 1 (Gangguan Temporo Mandibular Joint)

Presentasi mahasiswa   : 1 (Proses menua pada wajah, rahang, dan sendi rahang)

Flexibel Day                : -

Minggu 3 (Include Libur Lebaran : 2 hari)

Total Waktu Mandiri    : 9 Jam

Jumlah Praktikum         : 1 (Biologi Oral)

Jumlah Diskusi Pemicu : 1 (Cairan rongga mulut dan antibacterial pada saliva)

Presentasi mahasiswa   : 2 (Odontogenesis & Proses erupsi dan oklusi gigi desidui dan permanen)

Flexibel Day                : Sabtu (18/9) : kuliah hanya sampai pukul 12.00 (lagi ^_^)

Minggu 4

Total Waktu Mandiri    : 19 ½ jam

Jumlah Praktikum         : 4 (Biologi Oral)

Jumlah Diskusi Pemicu : 0

Presentasi mahasiswa   : 0

Flexibel Day                 : Sabtu (25/9) : kuliah hanya sampai pukul 11.30 (makin cepat)

Minggu 5

Total Waktu Mandiri    : 8 jam

Jumlah Praktikum         : 1 (Radiologi Dental)

Jumlah Diskusi Pemicu : 1 (Morfologi gigi dan uji aktifitas karies)

Presentasi mahasiswa   : 1 (Gangguan/kelainan dalam jumlah, ukuran, dan bentuk gigi)

Flexibel Day                : Sabtu (2/10) ~ Pukul 12.00 off

                                     (Untuk kelompok praktikum C dan D, pukul 09.00 off)

Minggu 6

Total Waktu Mandiri   : 22 jam

Jumlah Praktikum        : 5 (Radiologi Dental)

Jumlah Diskusi Pemicu : 1 (Efek perawatan gigi pada jaringan gigi dan pendukungnya)

Presentasi mahasiswa   : 0

Flexibel Day                : Sabtu (9/10) ~Pukul 12.00 off

Minggu 7

Total Waktu Mandiri    : 21 ½ Jam

Jumlah Praktikum         : 1 (Radiologi Dental)

Jumlah Diskusi Pemicu : 1 (Proses Pengunyahan)

Presentasi mahasiswa   : 0

Flexibel Day                : Sabtu (16/10) ~Pukul 12.00 off

Minggu 8 (Include : 4 Hari Ujian Praktikum)

Total Waktu Mandiri    : 31 Jam

Jumlah Praktikum         : 5 (Ujian Biologi Oral dan radiologi Dantal)

Jumlah Diskusi Pemicu : 0

Presentasi mahasiswa   : 0

Flexibel Day                : Flexibel Selasa (19/10) dan Sabtu (23/10)

                                     ~Full mandiri alias Libur ^_^

Minggu 9 (ujian Blok seminggu penuh)

Kesimpulan : Hari sabtu adalah hari favorit kita bersama ^-^

Little Care/Big Influence

Ini semua berawal dari teknologi push email di Naite (nama HP gue~Seri Green Heart dari SE) yang membuat gue bisa menerima email secara real time selama 24 jam, semudah menerima sms, dan mengirim pesan dengan biaya yang lebih murah dari sms. Cinta banget deh gue ma naite.

Ketika gue coba mengimpor email dari gmail ke Naite, gue kaget melihat begitu banyaknya email baru yang masuk padahal baru 2 minggu ga dibuka. Lebih kaget (dan senang) lagi ketika menyadari ada satu email yang sungguh menarik. Email dari Junior gue di kampus.

Dear Mr.Fauzi

My name is Dres

I’ve already read your blog about FKG in USU.

Specially for article: A guide of First year on Fkg USU KBK (outline) and it’s very helpful me as freshman in FKG

Moreover, I admire the way you write in the blog.

Hope it will be exist.

Thank you,

Dres.

Wah, gue berasa asyik. Ini pertama kalinya dikasi komentar melalui jalur yang sangat formal seperti ini.Pake bahasa asing lagi, waw. Dan kalo dilihat-lihat, emailnya ditulis dengan format yang teratur. Hahaha.

Akhirnya, walau sangat perlahan, gue mulai beranjak dari blogger dekil menjadi blogger yang sedikit demi sedikit dihargai.

Thank you Dres, I glad you response my ‘brownie scout’ Blog. 

Reboot~a thypografical~

Nyambung dengan pernyataan gue di entry sebelumnya, dimana gue membuat sebuah statement yang mengatakan kalau gue bakal jarang nulis entry karena kesibukan kuliah. Oke, sekarang, gue akan ralat statement itu.

Kesibukan kuliah tidak akan bisa membuat gue untuk berhenti menulis.

Ini hanya soal manajemen waktu, dan gue yakin bisa terus belajar sambil tetap mengupdate blog ini. (terima kasih untuk retnuh yang memberikan gue pemahaman melalui komentar di notes facebook gue ~see ‘berlayar di perahu kertas’).

Soal kegagalan gue mengatur waktu selama 9 blok berturut-turut, bagi gue itu bukan masalah. Mengutip apa yang dikatakan oleh aktor kawakan Jim carrey, “Kegagalan bukanlah akhir, kecuali anda menyerah.”

Speaking Of The Marx Brothers, Tomorrow Is Thelma Todd Day on TCM

Margaret Dumont was so integral to the Marx Brothers' comedies, it's easy to forget that she wasn't in all their movies. In fact, two of their best, Monkey Business and Horse Feathers, co-starred Thelma Todd. I've written about her before, here, so I won't go through her story again, but I did want to remind those of you who get Turner Classic Movies on your cable system that Monday, August 30, 2010, is Thelma Todd day.

Monkey Business and Horse Feathers are among the featured films, showing at 8 p.m. and 9:30 p.m. respectively. All times are Eastern Daylight Savings Time, by the way.

Here is the schedule copied straight from the TCM website:

30 Monday
6:00 AM Broadminded (1931)
A rejected suitor leaves town and gets mixed up in an international chase. Cast: Joe E. Brown, Ona Munson, Bela Lugosi. Dir: Mervyn LeRoy. BW-72 mins, TV-G

7:15 AM Son Of A Sailor (1933)
A lovesick fool bumbles into espionage and finds a stolen plane. Cast: Joe E. Brown, Jean Muir, Thelma Todd. Dir: Lloyd Bacon. BW-73 mins, TV-G

8:30 AM REAL MCCOY, THE (1930)
Charlie pretends to be a hillbilly to impress country girl Thelma Todd in hopes of making her his girlfriend. Cast: Charley Chase, Thelma Todd Dir: Warren Doane BW-21 mins, TV-G

9:00 AM Short Film: WHISPERING WHOOPEE (1930)
Charley hires three "party girls" to help him land a business deal. Cast: Charley Chase, Thelma Todd Dir: James W. Horne BW-21 mins, TV-G

9:30 AM Short Film: DOLLAR DIZZY (1930)
Two millionaires try to escape the suitors out to marry them for their money. Cast: Charley Chase, Thelma Todd, Edgar Kennedy. Dir: James W. Horne. BW-26 mins, TV-G

10:00 AM Short Film: HIGH C'S (1930)
An entertainer serving in World War I puts music before military service. Cast: Charley Chase, Thelma Todd, Carlton Griffin. Dir: James W. Horne. BW-29 mins, TV-G

10:30 AM PIP FROM PITTSBURG, THE (1931)
Charley agrees to go on a blind date to a dance to help out his friend. Concerned it will be a big disaster like his last blind date Charley tries to be as off putting as possible and goes all out trying to make himself look bad. He is rude to her on the phone, refuses to shave, wears his friend's old suit and even eats garlic. Unfortunately for him, however, his date turns out to be the lovely Thelma Todd. Cast: Charley Chase; Thelma Todd Dir: James Parrott BW-21 mins, TV-G

11:00 AM Short Film: NICKEL NURSER, THE (1932)
A millionaire hires an efficiency expert to get his daughter in line. Cast: Charley Chase, Thelma Todd, Billy Gilbert. Dir: Warren Doane. BW-21 mins, TV-G

11:30 AM Hips, Hips, Hooray (1934)
Two salesmen try to market a flavored lipstick. Cast: Bert Wheeler, Robert Woolsey, Ruth Etting. Dir: Mark Sandrich. BW-68 mins, TV-G

12:45 PM Cockeyed Cavaliers (1934)
Two nitwits are mistaken for the king's physicians in medieval England. Cast: Bert Wheeler, Robert Woolsey, Thelma Todd. Dir: Mark Sandrich. BW-72 mins, TV-G

2:00 PM Short Film: CATCH AS CATCH CAN (1931)
ZaSu Pitts is a hotel phone operator who finds love in a wrestler with a little matchmaking help from friend Thelma Todd. Cast: Thelma Todd, ZaSu Pitts, Big Boy Williams Dir: Marshall Neilan BW-20 mins, TV-G

2:30 PM Short Film: RED NOSES (1932)
Comedic duo Thelma Todd and ZaSu Pitts get sent to a spa while recovering from being sick, but it turns out not to be the relaxation they need. Cast: Thelma Todd, ZaSu Pitts Dir: James W. Horne BW-21 mins, TV-G

3:00 PM Short Film: SHOW BUSINESS (1932)
Comedic duo Thelma Todd and ZaSu Pitts travel along with their musical monkey to a show but their antics on the train antagonize the show director. Cast: Thelma Todd, ZaSu Pitts Dir: Jules White BW-20 mins, TV-G

3:30 PM Short Film: ASLEEP IN THE FEET (1933)
Comedic duo Thelma Todd and ZaSu Pitts try their hand at being charitable by working at a dance club to raise money for a friend. Cast: Thelma Todd, ZaSu Pitts Dir: Gus Meins BW-19 mins, TV-G

4:00 PM Short Film: MAIDS A LA MODE (1933)
Hal Roach's comedic duo Thelma Todd and ZaSu Pitts find themselves in a jam when they get caught by their boss at a party. Cast: Thelma Todd, ZaSu Pitts Dir: Gus Meins BW-18 mins, TV-G

4:30 PM Short Film: Bargain of the Century (1933)
Hal Roach's comedic duo Thelma Todd and ZaSu Pitts find themselves in a jam once again when they are the cause of a police officer losing his job. Cast: Thelma Todd, ZaSu Pitts Dir: Charley Chase BW-19 mins, TV-G

5:00 PM SOUP AND FISH (1934)
In this Todd/Kelly short, the girls crash a high society party and have trouble fitting in. Cast: Patsy Kelly, Thelma Todd Dir: Gus Meins BW-18 mins, TV-G

5:30 PM ONE HORSE FARMERS (1934)
The girls buy a farm in Paradise Acres and get scammed. Cast: Thelma Todd, Patsy Kelly Dir: Gus Meins BW-17 mins, TV-G

6:00 PM OPENED BY MISTAKE (1934)
Patsy looses her job and needs a place to stay over night after getting kicked out of her apartment. She convinces Thelma to let her spend the night at the hospital where Thelma works as a nurse. Cast: Patsy Kelly, Thelma Todd Dir: James Parrott BW-19 mins,

6:30 PM SING SISTER SING (1935)
Thelma Todd and Patsy Kelly move into an apartment together and become roommates. They end up driving each other crazy and Patsy moves out! Cast: Thelma Todd, Patsy Kelly Dir: James Parrott BW-20 mins, TV-G

7:00 PM Short Film: HOT MONEY (1935)
In this Todd/Kelly short, Patsy and Thelma come across some much needed money that happens to be stolen. Cast: Thelma Todd, Patsy Kelly Dir: James W. Horne BW-17 mins, TV-G
7:20 PM Short Film: Hour For Lunch, An (1939) BW-9 mins

7:30 PM TOP FLAT (1935)
In this Todd/Kelly short, Thelma tries to convince Patsy that she's struck it rich. Cast: Thelma Todd, Patsy Kelly Dir: William Terhune BW-19 mins, TV-G

8:00 PM Monkey Business (1931)
Four stowaways get mixed up with gangsters while running riot on an ocean liner. Cast: The Marx Brothers, Thelma Todd, Rockliffe Fellowes. Dir: Norman Z. McLeod. BW-78 mins, TV-G, CC

9:30 PM Horse Feathers (1932)
In an effort to beef up his school's football team, a college president mistakenly recruits two loonies. Cast: The Marx Brothers, Thelma Todd, David Landau. Dir: Norman Z. McLeod. BW-67 mins, TV-G, CC

10:45 PM Short Film: Another Fine Mess (1930)
Two vagabonds move into a deserted mansion and pretend to be its owners. Cast: Stan Laurel, Oliver Hardy, Thelma Todd. Dir: James Parrott. BW-28 mins, TV-G

11:21 PM Short Film: Grand Dame, The (1931) BW-8 mins

11:30 PM Short Film: Chickens Come Home (1931)
A man risks his marriage to help his best friend deal with blackmailers. Cast: Stan Laurel, Oliver Hardy, Thelma Todd Dir: James W. Horne BW-30 mins, TV-G

12:08 AM Short Film: Tree In A Test Tube (1943) C-6 mins

12:15 AM Devil's Brother, The (1933)
Two wannabe bandits are hired as servants by the real thing. Cast: Laurel & Hardy, Dennis King, Thelma Todd. Dir: Hal Roach. BW-90 mins, TV-G, CC

2:00 AM Short Film: Bohemian Girl, The (1936)
Two pickpockets raise a stolen child, not realizing she's royalty. Cast: Stan Laurel, Oliver Hardy, Thelma Todd. Dir: James W. Horne, Charles Rogers. BW-71 mins, TV-G

3:15 AM Maltese Falcon, The (1931)
In the first screen version of The Maltese Falcon, detective Sam Spade investigates the theft of a priceless statue. Cast: Bebe Daniels, Ricardo Cortez, Dudley Digges. Dir: Roy Del Ruth. BW-79 mins, TV-G, CC

4:45 AM Mary Stevens, M.D. (1933)
A woman doctor decides to have a baby without benefit of marriage. Cast: Kay Francis, Lyle Talbot, Glenda Farrell. Dir: Lloyd Bacon. BW-72 mins, TV-G

Best Actor Of 1932-33 (Comedy/Musical): The Marx Brothers (Horse Feathers and Duck Soup), Part Three

[To read Part One of this essay, click here. For Part Two, here.]

From Stage To Screen
After the success of I'll Say She Is!, the Marx Brothers had no shortage of producers willing to back their next Broadway show. They chose, however, the one producer who didn't come calling. Sam H. Harris was one of Broadway's most successful producers, with songwriters George M. Cohan and Irving Berlin in his stable and award-winning playwright George S. Kaufman recently put under contract.

With half a dozen hits in five years, Kaufman was one of the leading young playwrights working on Broadway and his quick wit turned out to be a perfect fit for Groucho, who years later referred to Kaufman as "his God." (He later went on to win two Pulitzer Prizes.) Kaufman built the play around the then-ongoing real estate boom in Florida and those of you familiar with the movie know the basic plot—with the help of a couple of disreputable guests (Chico and Harpo), the owner of a ramshackle hotel (Groucho) attempts to con a wealthy society maven (Margaret Dumont) into buying a worthless real estate development. As always, though, the plot of a Marx Brothers production is simply a framework for a lot of gags, and The Cocoanuts featured some of the best of the Brothers' career.

"Think of the opportunities here in Florida. Three years ago, I came to Florida without a nickel in my pocket. Now, I've got a nickel in my pocket."

"That's all very well, Mr. Hammer, but we haven't been paid in two weeks and we want our wages!"

"Wages? Do you want to be wage slaves, answer me that."

"No."

"No, of course not. Well, what makes wage slaves? Wages! I want you to be free. Remember, there's nothing like Liberty—except Collier's and The Saturday Evening Post. Be free, my friends. One for all, and all for me, and me for you, and three for five and six for a quarter."

To Kaufman's consternation, the Brothers also tended to ad lib throughout the show—"I think I just heard one of the original lines," he quipped at one performance—and in fact the "why a duck?" sequence evolved from just such an ad lib.



The show also featured an Irving Berlin song score—alas, not one of his best (it was the only show he ever wrote that failed to provide a hit song, although as I explained here, that wasn't necessarily his fault). In fact, the primary differences between the stage and film versions of The Cocoanuts centers on the elimination of many of these musical numbers, including two Groucho songs—"Why Am I A Hit With The Ladies" and a duet with Margaret Dumont called "A Little Bungalow." There was also a "black face" number involving members of the cast other than the Brothers and a subplot involving Harpo's scheme to defraud Dumont.

The Cocoanuts opened on the road in Boston, followed by two weeks in Philadelphia, an out-of-town tryout that revealed serious flaws in the production, not least of which was its gargantuan running time, with shows running well past midnight. After some cuts and restructuring, the show opened on Broadway at the Lyric Theatre on 42nd Street on December 8, 1925. (For those unfamiliar with the precise meaning of the term "Broadway show," the reference is not to a precise street location but to the size of the theater. To be consider a "Broadway" production, the theater must hold at least five hundred patrons. A theater with between 100 and 500 seats is an "off-Broadway" show, and one with fewer than 100 seats is "off-off Broadway.")

The Cocoanuts ran for 377 shows before heading out on the road, a stripped-down production Groucho called "inferior," by which he meant that the chorus girls were neither as pretty nor as willing as their Broadway counterparts. The audiences weren't inferior, though. The road show version of The Cocoanuts was big business, and the Los Angeles opening was attended by the likes of Douglas Fairbanks, Mary Pickford and Greta Garbo.

The Cocoa- nuts, by the way, marked the beginning of the end for Zeppo. Where in I'll Say She Is! he was part of the comedy, in Kaufman's new play he was relegated to straight man and occasional crooner. I have heard tell that Zeppo was actually a very funny guy and that from time to time he successfully understudied for Groucho, but the fact that the Brothers let Kaufman stand Zeppo in the corner without protest leads me to believe that either he was never that integral to the act or that he was already tired of performing and was looking forward to the day when he could work behind the scenes. He left the act after Duck Soup in 1933 to become a theatrical agent. A mechanical whiz, Zeppo also invented a watch to monitor the pulse rate of cardiac patients and founded Marman Products Co., which designed and manufactured, among other things, the Marman Twin motorcycle, and the Marman clamp which held the atomic bomb inside the B-29 used on the U.S. raid on Nagasaki.

After the success of The Cocoanuts, Kaufman and Morrie Ryskind set to work on a follow-up, added by songwriters Harry Ruby and Bert Kalmar. Concluding that the Marx Brothers played best as a collision of anarchy with high society, they set the play on Long Island at the estate of a stuffy socialite (Margaret Dumont again). Groucho, as African explorer Jeffrey T. Spaulding, was the guest of honor, with Chico as Emanuel Ravelli and Harpo as The Professor providing the weekend's musical entertainment.

"I used to know a fellow who looked exactly like you by the name of Emanuel Ravelli. Are you his brother?"

"I am Emanuel Ravelli."

"You're Emanuel Ravelli?"

"I am Emanuel Ravelli."

"Well, no wonder you look like him. But I still insist there is a resemblance."

"Heh, heh, he thinks I look alike."

"Well, if you do, it's a tough break for both of you."

The play included some of Groucho's most famous monologues, including a description of his most recent safari ("One morning I shot an elephant in my pajamas. How he got in my pajamas, I don't know"), a letter to his lawyer, and a spoof of the Eugene O'Neill play Strange Interlude, with Groucho addressing the audience directly.



There are also subplots involving the socialite's daughter, a painter named John Parker and a wealthy art collector who in a previous life was Abie the fish peddler. Unlike the movie version, there is also a journalist character modeled on gossip columnist Walter Winchell, several songs and a final act revolving around a costume party.

The play opened on October 23, 1928, at the Forty-Fourth Street Theatre and played 171 performances. As with its predecessor, Animal Crackers acquired several gags along the way, including this speech which a despondent Groucho ad libbed the night his savings were wiped out by the stock market crash of October 1929:

"Living with your folks. Living with your folks. The beginning of the end. Drab dead yesterdays shutting out beautiful tomorrows. Hideous, stumbling footsteps creaking along the misty corridors of time. And in those corridors I see figures, strange figures, weird figures: Steel 186, Anaconda 74, American Can 138..."

While performing Animal Crackers, the Brothers signed a deal with Paramount Pictures to make a film version of The Cocoanuts. United Artists had first approached the Brothers a year earlier about turning The Cocoanuts into a film (imagine the Marx Brothers and Charlie Chaplin working out of the same studio), but balked at the Brothers' asking price of $75,000 for the film rights. Paramount's Adolph Zukor balked, too, but then found himself upping the offer to $100,000 during dinner with a particularly eloquent Chico.

Actually The Cocoanuts was the Marx Brothers' second film, their first being something called Humor Risk, an attempt at a Chaplinesque "comedy with pathos" which the Brothers filmed in 1921. In it, Harpo played a dapper detective named Watson—according to biographer Kyle Crichton, making "his entrance in a high hat, sliding down a coal chute into the basement"—with Groucho as the villain, Chico his henchman and Zeppo a nightclub owner. Though a couple of reels were completed and exhibited, the film was never completed and was soon after lost, perhaps in a fire set by Groucho himself. Despite later attempts to find the film, including Groucho's offer of $50,000 to anyone who could locate a copy, Humor Risk has never turned up.

Frankly, I'm not sure I can imagine how an act that relied on quick verbal humor and musical interludes could succeed in a silent film. Apparently after one viewing, the Brothers couldn't imagine it either.

In January 1929, with the Brothers still performing Animal Crackers on Broadway every evening, filming of The Cocoanuts began at Paramount's Astoria Studio on Long Island, New York. Paramount's east coast studio had been used for years to film New York-based acts such as W.C. Fields, but it had yet to fully convert to sound (especially sound proofing) when principle photography began and most of the filming took place early in the morning before the noise of traffic made sound recording impossible.

As a finished product, The Cocoanuts suffered from all the problems associated with early sound pictures. Primative sound recording equipment required the camera—and thus the actors—to remain rooted in place, a particular problem for Groucho who had trouble finding his marks anyway. In addition, early microphones picked up sound indiscriminately. To muffle the sound of crinkling paper, every telegram, letter or map you see was soaked in water before each take (there was no muffling the sound of the crew's laughter, however, which ruined many takes).

The initial cut of The Cocoanuts ran nearly two-and-a-half hours, quickly trimmed after a preview to 96 minutes, mostly by dropping musical numbers. The film premiered in New York on May 3, 1929. The Brothers, who were performing down the street in Animal Crackers missed the show, but their mother Minnie was in attendance.

New York's critics were, at best, mixed in their reviews—prompting the Brothers to offer to buy back the negative from Paramount so as with Humor Risk they could burn it—but in the rest of the country, The Cocoanuts was a sensation. Only two years into the sound era, movie audiences had never before seen, or more to the point, heard anything like Groucho's nonstop wordplay, and the film wound up grossing $1.8 million on a budget of $500,000, enough to rank seventh on the year's list of top-grossing films. (Adjusting for differences in ticket prices and the population of the United States, a $1.8 million gross would be something like $103 million today; or looked at another way, the seventh ranked grossing film of 2009, The Twilight Saga: New Moon, grossed nearly $300 million domestically, more than $700 million worldwide. But however you put it, The Cocoanuts was very successful.)

After the success of The Cocoanuts, there was no question that the Marx Brothers would produce a film version of Animal Crackers. Filmed in Queens, New York, production began shortly after the road show in April 1930 and the film premiered at the Rialto in New York City on August 23, 1930. This time the critics were universal in their acclaim and the film grossed $1.5 million on its initial release (ticket prices were falling during the Depression), enough to rank fourth on the year's list of top grossing films.

In technical terms, Animal Crackers is far superior to The Cocoanuts—better sound, better sets, more movement—but where you rank it in the Marx Brothers' oeuvre depends in no small part on what it is you value in a Marx Brothers movie. Animal Crackers is the most quotable of all their films, with every line, particularly those from Groucho's monologues, a winner. And in terms of having worked out in advance what they were going to do, it's the most polished film they made before moving to MGM in 1935—personally, I rank it third behind Duck Soup and A Night At The Opera. But if what you respond to is the sense that anything can happen, as it often did when the Brothers were ad libbing, subverting not only the society the Brothers moved in but the conventions of film itself, then you might find the anarchic quality of their subsequent Paramount era pictures more to your taste—perhaps one of those the Marx Brothers made next, Monkey Business and Horse Feathers.

[To continue to Part Four, click here.]

Postscript: Did you know that color test footage was shot for Animal Crackers, with sixteen seconds being rediscovered in the mid-1990s. Note, there's no sound. That's Harpo sans wig in the bath robe:

Reboot~Nostalgia

Gue mungkin akan jarang update dalam minggu-minggu ke depan. Yah, gue udah mulai masuk ke blok belajar baru, blok 10 : sistem stomatognasi. Blok dengan jadwal yang padat dan libur yang sedikit T.T. Ditambah lagi, mata kuliah radiologi dental juga mengharuskan mahasiswanya untuk mencari pasien sendiri. Wah, berasa ko-ass lebih awal.

Sekarang lagi buntu ide. Tapi tadi malam gue sempat membongkar lemari, niatnya sih buat bersih-bersih, eh gue malah nemu buku catatan gue yang isinya cerpen ‘abstrak’ dan ‘sesuka hati’. Cerpen yang dibuat tanpa logika, tapi (sedikit) imajinasi. Cerpen yang gue buat di tahun 2006.  Dan cerpen yang menyadarkan gue bahwa pemikiran sederhana yang gue banggakan dulu, kini telah berubah menjadi pemikiran labirin yang rumit.

Untuk nostalgia saja, kebetulan nama tokoh dan subjeknya adalah “Everything that I hype so” di tahun 2006.

*Untitled

Pertengahan tahun 2006, saat itu Dio dan Ken sedang sibuk merancang model penelitian virus di bangku paling belakang kelas, ketika Ibu Nadya masuk bersama seorang anak perempuan bertubuh mungil. Ruangan yang gaduh seketika sunyi senyap. Tidak heran, sumber dari segala hiruk pikuk kelas, Eron , sedang tertegun melihat kedatangan siswi baru itu

.

Ibu Nadya langsung duduk di kursinya, memandang sekeliling kelas kemudian memperkenalkan murid baru itu. Namanya, Franda, pindahan dari Surabaya. Matanya yang bening bercahaya, membuat sebagian besar siswa cowok hanya terpaku seraya mendengarkan suaranya yang nyaring.

“Hei Ken, kamu lihat dia?” seru Dio.

Ken masih sibuk mencorat-coret kertas gambarnya dengan skema-skema unik. Itu adalah skema daur hidup virus”.

“Hei, , hentikan dulu sebentar, dan lihatlah di depan sana.” Kata Dio sambil menepuk pundak Ken. Matanya penuh dengan kekaguman tingkat tinggi kepada Franda. “Seandainya mesin waktu itu benar ada seperti khayalan kita, aku pasti segera pergi ke masa depan untuk melihat apakah di masa depan aku akan menjadi suaminya.”

Dio tertawa tertahan. Menertawakan leluconnya sendiri. Ken mengerutkan kening. Ken adalah anak laki-laki serius. Tipikal anak yang lahir dari keluarga ilmuwan. Ibunya adalah seorang ilmuwan mikrobiologi , sedangkan ayahnya adalah seorang peneliti virus. Latar belakang keluarga tersebut membuatnya hanya tertarik dengan ilmu pengetahuan alam, buku-buku biologi, dan ide-ide tak masuk akal Dio.

Disebelah Ken, seorang anak laki-laki dengan rambut tak beraturan dan memiliki rekor ditolak cewek paling banyak diantara teman-teman sekelas. Berencana mengakhiri kejombloannya, dengan bantuan Ken, merancang suatu virus yang akan memanipulasi perasaan manusia.

*Dio adalah nama karakter dalam game jojo;s bizarre adventure, ken dalan street fighter, franda nama salah satu finalist VJ MTV tahun 2006, Nadya adalah nama depan bintang film ‘JOMBLO’, dan virus adalah salah satu pokok bahasan dalam buku biologi kelas X (tahun 2006).

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Best Actor Of 1932-33 (Comedy/Musical): The Marx Brothers (Horse Feathers and Duck Soup), Part Two

[To read Part One, click here.]

From Vaudeville To Broadway
The Four Marx Brothers evolved steadily during their apprenticeship on the vaudeville circuit, gradually taking on the attributes they are famous for today—quick verbal wit and loony wordplay punctuated by the piano- and harp-recitals of Chico and Harpo respectively, with frequent ad libs that left tissue-thin plots in tatters and turned the proceedings into virtual anarchy.

In their early days in vaudeville, the Brothers also relied on the ethnic stereotyping common to the vaudeville of the day, remnants of which are most obviously displayed in Chico's comedy. Dating back to his days as one half of a singing duo, Chico had been using an Italian accent copied from his barber for between-song patter and when he joined the act permanently, he adopted the Italian character to their show Fun In Hi Skule, playing an Italian schoolboy to Harpo's Irish kid and Gummo's Jewish one. Later, the Chico character developed into an Italian immigrant whose fractured English was the source of many jokes.

Chico also played the con man on stage, alternately sharp or dim depending on whether he was conning brother Groucho or someone else. In Animal Crackers it was even suggested that the Italian character was itself part of the con job:

"Say, how did you get to be an Italian?" asks an old acquaintance.
"Never mind that, whose confession is this?"

Between bits, Chico also played piano in a style so unusual, it became a joke in and of itself—as a boy, he took lessons from a teacher who could only play with her right hand, faking with her left, a style Chico copied faithfully.

Chico's on-stage accomplice in crime, Harpo, was the pure id of the act, a hyperactive puppy, as innocent as a child, as easily distracted and just as destructive. Harpo joined the act in 1912 as an Irish stereotype in a red wig but morphed into a mute out of necessity for the 1914 show, Home Again—Harpo complained to the play's author, his uncle Al Shean, that he had too few lines, and when in response, Shean cut Harpo's speeches altogether, Harpo stole a horn off a taxi cab, which became his sole means of communication, and transformed himself into a purely visual act, determined to become a scene-stealing machine who would wreak havoc whenever he was on stage.

Interestingly, of all the Brothers, Harpo's on-stage character was the farthest from his off-stage personality. If Groucho was in real life moody and insecure, forever hiding behind a mask of hostile levity, and if Chico was in fact something close to a con man looking only to gamble and talk his way into women's pants, Harpo was actually a gentle man with a serious passion for the harp, an instrument he worked hard to master. The intensity he brought to the performance in those movies that featured the harp was always at odds with the undisciplined character he otherwise played.

Harpo himself agreed that those moments playing the harp are when you see the real man.

"Harpo was the solid man in the family," Groucho said. "He inherited all my mother's good qualities—kindness, understanding, and friendliness. I inherited what was left."

Although known primarily for his wit, the mou- stache, the cigar, the stooped walk and the oversized frock coat make Groucho the most recognizable of the Brothers and a popular target of imitators. It was in 1921 during the run of On The Mezzanine that a tardy Groucho skipped the effort of gluing on his usual fake fur moustache—"easy to put on," he said, "but murder to tear off"—and smeared greasepaint on his upper lip instead; since no one noticed the difference, he stuck with greasepaint ever after and didn't grow a real moustache until filming the television show You Bet Your Life in 1947.

On stage, Groucho served to bridge the gap between the audience and his brothers. Where Chico and Harpo were usually off in their own worlds, motivated by impulses clear only to themselves (and often not even then), Groucho played recognizable members of society—teachers, lawyers, hotel owners, even petty dictators—who wanted the sorts of things the audience wanted, in Groucho's case, sex and money. Yet paradoxically, while acknowledging the world around him in ways his brothers rarely did, Groucho was the most hostile to the existing order, and he used his lacerating wit to keep the world—and the audience—at arm's length.

"I do not care to belong to a club," he famously wrote to the Friar's of Los Angeles, "that accepts people like me as members."

As for Gummo and Zeppo, neither developed stage characters as well defined as their brothers. From what I can tell, the act's comedy was always a case of every man for himself, developing through nonstop ad libs and scene stealing. Gummo was a quiet man with a childhood stammer and never much interested in performing; and Zeppo, being so much younger than his brothers and coming so late to such a well-established act, wound up as something of an afterthought. So Gummo largely sang and played the handsome straight man to Groucho's verbal cracks, and want it or not, Zeppo inherited the role when his older brother joined the army in 1918.

Once Chico joined the act in 1912, the Four Marx Brothers flourished in a series of original show. Aside from the misfortune of opening a new show, Street Cinderella, during an influenza epidemic (audience members were required to sit every other seat and wear handkerchiefs over their faces), the Brothers' only misstep during the vaudeville years occurred in 1922—but as missteps go, it was a doozy.

After a tour of England in the summer of that year, the Brothers found themselves blacklisted from all the top vaudeville venues when circuit boss E.F. Albee declared the overseas engagement a breach of contract. Faced with the choice of playing second-tier houses, appearing in a road show version of another team's act, or temporarily leaving the stage altogether—any one of which, their mother Minnie argued, would be a fatal step backwards—the Brothers aimed instead for Broadway and "legitimate" theater, an audacious goal considering they had no new material or the money to back it.

For once Chico's gambling habit came to the rescue in form of a coal baron named James P. Beury whom Chico met during a card game. Beury agreed to bankroll a new show, and a chance meeting with songwriter Tom Johnstone and his brother, cartoonist Will B. Johnstone, provided the Brothers with the needed material.

The resulting stageplay, I'll Say She Is!, was a sketch comedy/musical revue loosely linked together by a character named Beauty, a bored heiress to a fortune willing to marry anyone who could give her a thrill. The most complete transcript of the show (here) indicates an opening scene where, to impress a talent agent, the Brothers pretend to be none other than their uncle Al Shean (later dancer Joe Frisco when the show moved to New York, and still later Maurice Chevalier when they adapted the scene for Monkey Business). There was also a courtroom scene with Harpo as a judge and Groucho as both the prosecutor and the defense lawyer; a tour of Chinatown featuring a song and dance number in an opium den; and a finale built around Groucho's impersonation of Napoleon.

"When I look into your big blue eyes," he tells Josephine, "I know that you are true to the Army. I only hope it remains a standing Army."

Several of Harpo's bits from the play were recycled in both Animal Crackers (sight gags with stolen silverware and playing cards) and Horse Feathers (playing cards again).

The Marx Brothers reprised the opening scene of I'll Say She Is! in 1931 for a short film promoting Monkey Business. Presented here, the scene gives you a taste of what the Marx Brothers' act might have been like at this stage of their careers.



The show opened about as far from Broadway as you could get in those days—Allentown, Pennsylvania. The Brothers were taking no chances of a hostile critic wandering in while they were working out the show's kinks (among which were an inept chorus girl who was sleeping with their chief financial backer; the Brothers slipped her a mickey on opening night, but a longer term solution presented itself in the form of a handsome young chorus boy -- the two eloped together and left the show). After its successful premiere, the Brothers took the show on the road—Philadelphia, Boston, Detroit, Chicago, etc.—playing for a year before they finally opened at the Casino Theatre in New York.

"You could kill 'em all your life in big-time vaudeville," Groucho later wrote, "but you were still a vaudeville actor. There was a definite prestige about being a Broadway star that vaudeville could never give you."

Real- istically, the Brothers expected to play Broadway for a couple of weeks before taking the show back on the road, but influential critic Alexander Woollcott (at right in photo, with Harpo standing in middle) was in the audience on opening night and gave I'll Say She Is! a rave review. The show wound up playing 304 performances and the Brothers never looked back.

[To continue on to Part Three, click here.]

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