Thursday, July 10, 2014

The Classics





One of the ways to learn a language is through animated cartoon shows, especially ones you watched as a kid. The characters are familiar, the plots move fast, they are written using simple and unpretentious language. They have taught, entertained, and influenced you. But where did the writers of these shows get their influences from? That's precisely what we are going to examine today... Prepare to go on a journey... or as Groucho would say... a jooourney...




What cartoon shows did you watch when you were a kid?

Who was your favorite character and why?

What or who do you think influenced the writers of those shows? 



Remember these jokers?



Some vocabulary for the next clip...
edify: to instruct and improve
awry (usually with 'go'): away from plan or expected result
reign: to rule
pachyderm: a very large mammal with thick; an elephant, rhinoceros, hippopotamus
sentinel: guard
admired: like very much
ransacked: go quickly through a place stealing things causing damage
river banks: sides of a river
pillage: rob using violence
depravity: evil
faux pas: embarrassing act



The Post Vaudeville Comedy Team traces back to Laurel & Hardy:


And Brain's voice is Orson Wells. Here is Orson Wells in a famous out-take from a pea commercial... 



[George Orson Welles(May 6, 1915 – October 10, 1985)]
“We know a remote farm in Lincolnshire, where Mrs. Buckley lives. Every July, peas grow there.” Do you really mean that?

[Director One]
Uh, yes, so in otherwords, I–I–I’d start half a second later.

[Orson Welles]
Don’t you think you really want to say “July” over the snow? Isn’t that the fun of it?

[Director One]
It’s–if–if you can (laughs) if you can make it almost when that shot disappears, it’ll make more–

[Orson Welles]
I think it’s so nice that–that you see a snow-covered field and say “every July peas grow there”. “We know a remote farm in Lincolnshire, where Mrs. Buckley lives. Every July, peas grow there.” We aren’t even in the fields, you see? (pause) We’re talking about them growing and she’s picked them. (clears throat) What?

[Director One]
…in July.

[Orson Welles]
I don’t understand you, then. When must–what must be over for “July”?

[Director One]
Uh, when we get out of that snowy field–

[Orson Welles]
Well, I was out! We were onto a can of peas, a big dish of peas when I said “in July”.

[Director One]
Oh, I’m sorry, Orson.

[Orson Welles]
Yes, always. I’m always–past that!

[Director One]
You are?

[Orson Welles]
Yes! Wh–that’s about where I say “in July”.

[Director Two]
Can you emphasize a bit “in”? “In July.”

[Orson Welles]
Why? That doesn’t make any sense. Sorry. There’s no known way of saying an English sentence in which you begin a sentence with “in” and emphasize it. Get me a jury and show me how you can say “in July” and I’ll… go down on you. That’s just idiotic, if you’ll forgive me by saying so.

[Director Two] 
(indistinct chatter)

[Orson Welles]
That’s just stupid. “In July”?
I’d love to know how you emphasize “in” in “in July”… Impossible! Meaningless.

[Director One]
I think all they were thinking about was that they didn’t want to–

[Orson Welles]
He isn’t thinking.

[Director One]
Orson, can we just do one last time–

[Orson Welles]
Yeah.

[Director One]
…and it was my fault. I should–I said “in July”. If you could leave “every July”–

[Orson Welles]
You didn’t say it. He said it.

[Director One]
…I said “every July”.

[Orson Welles]
Your friend. “Every July”?

[Director One]
…so after this shot…

[Orson Welles]
No, you don’t really mean “every July”?

[Director One]
…it is, but it’s…

[Orson Welles]
But that’s–that’s bad copy. It’s in July. Of course it’s every July! There’s too much directing around here.


Before Television and Radio there was Vaudeville Theater, 


which made SLAP-STICK popular... what is slap-stick?




Then again, I couldn't hold a candle to these folks... 

the 3 Stooges!



Who, in turn, were in some degree inspired by Charlie Chaplin...


And, let's face it, who killed the comedy mustache...

But really, all roads lead back to this man right here...


Groucho Marx of the Marx Brothers
Modern comedians of all kinds, stand-up, sitcom, sketch, film and stage, look on the Marx Brothers with awe at how brilliant they were at every aspect of comedy. They grew as vaudeville performers, and although they couldn’t tapdance, they could certainly do everything else, and this lister means EVERYTHING.

Groucho’s one-liners and insults run throughout all their films and are still the stuff of legend. His greasepaint eyebrows and mustache are part of the classic Halloween, or gag glasses, with huge nose, that kids like to wear, or cartoons use to hide identities.

Here is the famous crowded cabin scene from Night at the Opera...


DISCUSSION:

Why does Groucho talk quickly when he insults people?

Does Groucho take things more metaphorically or literally?

Which of his quotes do you get?

What is innuendo or a double entente?

How would you describe comedy in your country?
Is it mostly physical (slap-stick)? 
Intellectual? 
Dark? 
Dry? 
High-brow?
Low-brow?
Juvenile?
Ironic?
Deadpan?
Sarcastic?
Sardonic?


What is a pun?

A double-take?

A spit take?

A set-up and a pay-off?

What do you think a comedian means when they say they 'killed' or 'died' last night?

What is the best joke you ever heard? Where? Why was it so funny?

What is a running gag?

Do you agree with the quote, 'impersonation is the highest form of flattery'?



In the later year of the Brothers movie career Groucho started working on radio. He hosted several programmes and was a guest on many shows. His biggest success was the comedy quiz show You Bet Your Life which started in 1947. The show later moved to television and was on the air until 1961.

Much of the innuendo in a lot of these jokes comes from the Hays Code:

One of the key reasons for this code was the mysterious death of a young starlet named Virginia Rappe in 1921. It was Hollywood's first scandal and Roscoe 'Fatty' Arbuckle was blamed.... 



The Motion Picture Production Code was the set of industry moral censorship guidelines that governed the production of most United States motion picturesreleased by major studios from 1930 to 1968. It is also popularly known as the Hays Code, after Hollywood's chief censor of the time, Will H. Hays. The Motion Pictures Producers and Distributors of America (MPPDA), which later became the Motion Picture Association of America (MPAA), adopted the code in 1930, began enforcing it in 1934, and abandoned it in 1968, in favor of the subsequent MPAA film rating system. The Production Code spelled out what was acceptable and what was unacceptable content for motion pictures produced for a public audience in the United States. The office enforcing it was popularly called the Hays Office in reference to Hays, inaccurately so after 1934 when Joseph Breen took over from Hays, creating the Breen Office, which was far more rigid in censoring films than Hays had been. Hollywood followed the guidelines set about by the code well into the late 1950s, but the code was eventually abandoned due to the combined impact of television, influence from foreign films, bold directors (such as Otto Preminger) pushing the envelope, and intervention from the courts, including the Supreme Court.[1][2] By the 1960s the code had been entirely abandoned.

Don'ts and Be Careful

The Code enumerated a number of key points known as the "Don'ts" and "Be Carefuls":
Resolved, That those things which are included in the following list shall not appear in pictures produced by the members of this Association, irrespective of the manner in which they are treated:
  1. Pointed profanity – by either title or lip – this includes the words "God," "Lord," "Jesus," "Christ" (unless they be used reverently in connection with proper religious ceremonies), "hell," "damn," "Gawd," and every other profane and vulgar expression however it may be spelled;
  2. Any licentious or suggestive nudity – in fact or in silhouette; and any lecherous or licentious notice thereof by other characters in the picture;
  3. The illegal traffic in drugs;
  4. Any inference of sex perversion;
  5. White slavery;
  6. Miscegenation (sex relationships between the white and black races);
  7. Sex hygiene and venereal diseases;
  8. Scenes of actual childbirth – in fact or in silhouette;
  9. Children's sex organs;
  10. Ridicule of the clergy;
  11. Willful offense to any nation, race or creed;
And be it further resolved, That special care be exercised in the manner in which the following subjects are treated, to the end that vulgarity and suggestiveness may be eliminated and that good taste may be emphasized:
  1. The use of the flag;
  2. International relations (avoiding picturizing in an unfavorable light another country's religion, history, institutions, prominent people, and citizenry);
  3. Arson;
  4. The use of firearms;
  5. Theft, robbery, safe-cracking, and dynamiting of trains, mines, buildings, etc. (having in mind the effect which a too-detailed description of these may have upon the moron);
  6. Brutality and possible gruesomeness;
  7. Technique of committing murder by whatever method;
  8. Methods of smuggling;
  9. Third-degree methods;
  10. Actual hangings or electrocutions as legal punishment for crime;
  11. Sympathy for criminals;
  12. Attitude toward public characters and institutions;
  13. Sedition;
  14. Apparent cruelty to children and animals;
  15. Branding of people or animals;
  16. The sale of women, or of a woman selling her virtue;
  17. Rape or attempted rape;
  18. First-night scenes;
  19. Man and woman in bed together;
  20. Deliberate seduction of girls;
  21. The institution of marriage;
  22. Surgical operations;
  23. The use of drugs;
  24. Titles or scenes having to do with law enforcement or law-enforcing officers;
  25. Excessive or lustful kissing, particularly when one character or the other is a "heavy".


And the Marx brothers were, of course, a primary influence on, none other than....


Cheer when your country is called.... let's hear some noise!!!


Bon Appetit.

- The Executive Committee


Sunday, July 6, 2014

Happy 4th, Jello Biafra!


Bon Appetit.

- The Executive Comittee

------------------------------------------------------------------------

LYRICS TO 'SHUT UP, BE HAPPY!' by JELLO BIAFRA:

We interrupt this program with a special bulletin: 
America is now under marshal law.
All constitutional rights have been suspended.

Stay in your homes.
Do not attempt to contact loved onesinsurance agents, or attorney's.

Shut up.
Do not attempt to think or depression may occur.

Stay in your homes.
Curfew is at 7 PM sharp after work.

Anyone caught outside of gates of their subdivision sector after curfew,
will be shot.

Remain calm, do not panic.

Your neighborhood watch officer will be by to collect urine samples in
the morning.

Anyone caught interfering with the collection of urine samples, will be
shot.

Stay in your homes. Remain calm.
The number one enemy of progress is question.

National security 
is more important than individual will.

All sports broadcasts will proceed as normal.
No more than two people may gather anywhere without permission.

Use only the drugs prescribed by your boss or supervisor.

Shut up. Be happy.

Obey all orders without question.

The comfort you demanded is now mandatory.

Be happy.

At last everything is done for you.

SCENES FOR INDIRECT QUESTIONS AND PERSUASIVE LANGUAGE


BOILER ROOM: RECO SCENE

INT. BOILER ROOM - DAY

  SETH (O.S.)
 I'm sorry, sir, I didn't realize...

  DR. JACOBS
 I'm really busy, Seth.

Seth looks over towards Michael's office and sees Greg and
three other team leaders coming out.

  SETH
 I understand.  I'm real busy here
 myself, Doctor.  Look, we're going to
 come back to you in a month with one
 idea and one idea only.  If you like
 what we have to say, great, we'll do
 business.  Worst case scenario you'll
 hear yourself a new business idea.
 Chat about it with your golfing buddies
 and we'll part as friends.  That's
 fair, right?

A nurse is asking the Doctor a question and he loses focus.

  DR. JACOBS
 Ummm what?

  SETH
 Great.  So tell me, Doc, are you
 working with a million dollars in the
 market right now?

  DR. JACOBS
 Who is this again?

  SETH
 Tell me something, you're a doctor.
 Have you ever heard of a drug called
 Fenamul?  It's being manufactured by
 MSC pharmaceuticals.

  DR. JACOBS
 No.

  SETH
 Well it's in the third stage of FDA
 approval right now.  Word is, it's
 going to get approved in the next three
 months.  Could be tomorrow for all I
 know.  Anyway, I'm getting ahead of
 myself.  And you're real busy over
 there.  Why don't I send you out the
 info you requested about the firm and a
 senior broker will call you next month
 with that one idea.

  DR. JACOBS
 Wait, wait, wait, hold on a second,
 forget the info, let's talk about this
 now.  What was the name of the drug
 again?

Seth begins to smile.

  SETH
 You know what, sir, let me pass you on
 to a senior broker who's more involved
 with this particular stock.  Hold on a
 second.

Seth pushes the hold button.  He pauses and then YELLS:

  SETH (CONT'D)
 Reco!!

Everything and everyone in the room stops.  There is a slight
pause and then CHAOS.  About 20 brokers BOLT toward Seth.

Chris is closest.  Another broker JUMPS onto the table
separating him from Seth and clambers over it.  Chris puts on
the steam and gets there first.  The other broker runs
straight into Seth, unable to stop.

Chris regains his composure wiping the smile off his face.

  CHRIS
 Card.

  SETH
 Okay, his name's Dr. Jacobs and from
 the sound of it, I'd say he's
 definitely...

  CHRIS
 Whoa, whoa, I don't wanna hear it, kid.

Chris grabs the card from his hand and looks at it briefly.

  CHRIS (CONT'D)
 Hi, Dr. Jacobs, this is Chris Marlin
 over at JT Marlin.

  DR. JACOBS
 Marlin?

  CHRIS
 Right.  He's my father.

Another broker connects a wire to a jack on the back of the
phone and the conversation is now heard on the PA system.

  CHRIS (CONT'D)
 So my associate tells me you're
 interested in one of our stocks.

  DR. JACOBS
 Yes, MSC sounds like it might be
 interesting.

  CHRIS
 Might be?  Might be doesn't sell stock
 at the rate MSC is going, Dr. Jacobs.
 We're talking about very high volume
 here.

  DR. JACOBS
 Well, I still have to run it by my
 people.

  CHRIS
 That's great, Doc.  If you want to miss
 yet another opportunity here and go
 watch your colleagues get rich doing
 clinical trials, then don't buy a share
 and hang up the phone.

  DR. JACOBS
 Well hold on a second.  I didn't say
 that.  I just wanted to talk more about
 it.

  CHRIS
 Honestly Doc, I don't have the time.
 This stock is blowing up right now.
 The whole firm is going nuts.  Let me
 open the door to my office.

Chris holds the phone up to the 100 brokers standing there
silently.  They begin talking loudly and screaming "Buy,
Sell".  Chris makes a hand motion and they stop.

  CHRIS (CONT'D)
 You hear that?  That's my trading
 floor, Doc.
 Now I have a million calls to make to
 other doctors who are already in the
 know.  I can't walk you through this
 right now.  I'm sorry.

Huge pause.  Everyone looks on waiting to hear what he'll do.
Chris doesn't even look mildly concerned.  Then...

  DR. JACOBS
 Okay, okay.  Let's do this.

  CHRIS
 Now, since you're a new account I
 cannot go any higher than two thousand
 shares.  I'd love to but I just can't
 do it.

  DR. JACOBS
 Two thousand?!  Whoa!  That's way more
 than I was thinking about.  Two
 thousand, Jesus.
  (pause)
 I'm just curious, why can't you sell me
 more than that?

The brokers hold in their laughter.

  CHRIS
 Well, we like to establish a
 relationship with our clients on
 something small before we get to the
 more serious trades.  Let me show you
 several percentage points on this small
 trade and then we'll talk about doing
 future business.

  DR. JACOBS
 That sounds good.  Give me two thousand
 shares.

  CHRIS
 Done.

  DR. JACOBS
 You sure you can't do any better on
 this one?

  CHRIS
 No, I'm sorry, Dr. Jacobs.

  DR. JACOBS
 Alright, let's start with this trade
 then.

  CHRIS
 Great.  I promise we'll go big on the
 next one.
  (feigns masturbation)
 Now do you want the confirmation sent
 to your office or your mansion?

  DR. JACOBS
  (laughs)
 Very funny, Mr. Marlin.

  CHRIS
 Alright, let me put my secretary on.
 She'll take your info.

Chris hits the hold button and then...

  CHRIS (CONT'D)
 Done and done.

The entire firm applauds when he gets off the phone.  The
crowd disperses.  Chris sits down on Seth's desk.

--------------------------------------------------------------------


MARGIN CALL: Fat Cats and Starving Dogs

 INT. SENIOR EXECUTIVE DINING ROOM    - MOMENTS LATER

     The room has ten tables formally set that line a long wall of
     floor to ceiling windows with a commanding view of the city
     beyond. The room is empty except for JOHN TULD sitting at the
     last table. TULD looks a little surprised to see SAM but
     waves him down. SAM approaches.

                         JOHN TULD
               Sam, please sit. Congratulations are
               clearly in order.

                         SAM ROGERS
               Our guys did what they could.
                            

                            JOHN TULD
                  You did a hell of a job today, and I
                  thank you for it. Sit, excuse me for
                  eating but it's been a long day. Can I
                  get you anything?

                            SAM ROGERS
                  No, no thanks.

     They just sit in silence for a long beat as TULD takes a few
     more bites of his meal.

                            TULD
                  So what can I do for you?

                            SAM ROGERS
                  I want out.

                               TULD
                  I'm sorry?

                            SAM ROGERS
                  I'm done, I want out.

                            TULD
                  It's been a very difficult day, for
                  everyone.

                            SAM ROGERS
                  I need you to release my options, that is
                  if they're still worth anything after
                  today, and I need the bonus. I'm out.

                            TULD
                  You'll get the bonus, the options, and
                  keep your current base, but I need you to
                  stay with me for another 24 months. O.K?

     They look at each other, SAM seems to know it's not actually
     a question. SAM is a shell of himself as TULD takes another
     hearty bite of his meal. He finally looks up.

                            TULD (cont'd)
                  For God's sake man put a smile on your
                  face, you did some good today, you said
                  so yourself. I'm starting to feel a
                  little better about this whole thing.
                  You're one of the luckiest guys in the
                  world, you could've been digging ditches
                  all these years...

     SAM pushes back his chair, stands, and prepares to leave.


                         SAM ROGERS
               That's true, and if I had been at least
               there'd be some holes in the ground to
               show for it. I'm just not quite sure how
               we fucked this thing up so badly.

     This pushes TULD a bit too far. He also senses he may be
     losing SAM. He drops his fork, and his tone changes.

                         TULD
               Jesus, when did you start feeling so
               sorry for yourself, it's unbearable...
               What, you think we may have helped put
               some people out of business today? That
               it's all just for naught? Well you've
               been doing that everyday for almost forty
               years Sam. And if all this is for naught
               then so is everything else out there.
               It's just money, it's made up, a piece of
               paper with some pictures on it so we
               don't all kill each other trying to get
               something to eat. But it's not wrong and
               it's certainly not any different today
               than it's ever been. Ever. 1637, 1797,
               1819, `37, `57,`84, 1901, `07, 1929, `37,
               `73, and 1987... God damn did that
               motherfucker fuck me up good, 92, 97,
               2000, and whatever this is gonna be
               called. They're just the same thing over
               and over. We can't help ourselves, and
               you and I can't control it, stop it, slow
               it, or even ever so slightly alter it...
               We just react... and we get paid well for
               it if we're right... and get left by the
               side of the road if we're wrong. There's
               always been and there's always gonna be
               the same percentage of winners and
               losers, happy fucks and sad sacks, fat
               pigs and starving dogs in this world...
               yes there may be more of us today... but
               the percentages... they always stay
               exactly the same.

     They stare at each other for a long beat and then TULD looks
     down and takes another bite. He chews. He looks up again.

                         SAM ROGERS
               I'll do it John, but not because of your
               little speech, but because I need the
               money. I'm not sure how it could possibly
               be after all these years, but I need the
               money.

---------------------------------------------------------------------



GUSTAFSON OLDS GARAGE
Jerry is sitting in his glassed-in salesman's cubicle just
off the showroom floor.  On the other side of his desk sit
an irate customer and his wife.

CUSTOMERWe sat here right in this room and
went over this and over this!

JERRYYah, but that TruCoat -

CUSTOMERI sat right here and said I didn't
want no TruCoat!

JERRYYah, but I'm sayin', that TruCoat,
you don't get it and you get
oxidization problems.  It'll cost
you a heck of lot more'n five
hunnert -

CUSTOMERYou're sittin' here, you're talkin'
in circles!  You're talkin' like
we didn't go over this already!

JERRYYah, but this TruCoat -

CUSTOMERWe had us a deal here for nine-
teen-five.  You sat there and
darned if you didn't tell me
you'd get this car, these options,
WITHOUT THE SEALANT, for nine-
teen-five!

JERRYOkay, I'm not sayin' I didn't -

CUSTOMERYou called me twenty minutes ago
and said you had it!  Ready to
make delivery, ya says!  Come on
down and get it!  And here ya are
and you're wastin' my time and
you're wastin' my wife's time and
I'm payin' nineteen-five for this
vehicle here!

JERRYWell, okay, I'll talk to my boss...

He rises, and, as he leaves:

JERRY...  See, they install that TruCoat
at the factory, there's nothin' we
can do, but I'll talk to my boss.

The couple watch him go to a nearby cubicle.

CUSTOMERThese guys here - these guys!
It's always the same!  It's always
more!  He's a liar!

WIFEPlease, dear.

CUSTOMERWe went over this and over this -

NEARBY CUBICLE
Jerry sits perched on the desk of another salesman who is
eating lunch as he watches a hockey game on a small portable
TV.
JERRYSo you're goin' to the Gophers
on Sunday?

SALESMANYou bet.

JERRYYou wouldn't have an extra ticket
there?

SALESMANThey're playin' the Buckeyes!

JERRYYah.

SALESMANYa kiddin'!

JERRY'S CUBICLE
Jerry re-enters.

JERRYWell, he never done this before,
but seein' as it's special
circumstances and all, he says I
can knock one hunnert off that
TruCoat.

CUSTOMEROne hundred!  You lied to me, Mr.
Lundegaard.  You're a bald-faced
liar!

Jerry sits staring at his lap.

CUSTOMER...  A fucking liar -

WIFEBucky, please!

Jerry mumbles into his lap:

JERRYOne hunnert's the best we can
do here.

CUSTOMEROh, for Christ's sake, where's my
goddamn checkbook.  Let's get this
over with.

-----------------------------------------------------------------------------------------------------------


FARGO - I'm Cooperatin'


FARGO - Chit Chat (funny looking)

--------------------------------------------------------------------


No Country For Old Men - Coin Toss

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