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Now Playing at the Packard Campus Theater (June 22 – 24, 2017)

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The following is a guest post by Jenny Paxson of the Packard Campus.

Copacabana (UA, 1947)

Thursday, June 22 (7:30 p.m.)
Copacabana (United Artists, 1947)
Groucho Marx, in his first film without his brothers, stars as two-bit theatrical agent Lionel Q. Devereaux, whose overzealous promotion of his only client — fireball entertainer Carmen Novarro (Carmen Miranda) results in her being hired for two different singing jobs in two different guises at the Copacabana nightclub. Alfred E. Green directed this musical comedy and the Brazilian Bombshell, Miranda, performs several lively numbers written by Sam Coslow. Also co-starring Steve Cochran, Andy Russell and Gloria Jean.

Friday, June 23 (7:30 pm)
Room Service (RKO, 1938)
Groucho, Chico and Harpo Marx star in this adaptation of a hit Broadway show about destitute producers trying to get a stage play, Hail and Farewell, produced and funded by a mysterious backer while evading paying their hotel bill. William A. Seiter directed this comedy, the only Marx Bros. film that was not written especially for the team. It also features Lucille Ball, Ann Miller, and Frank Albertson. Also on the program is the 1933 short Hollywood on Parade which features Groucho and Chico Marx, W.C. Fields, Mae West, Jimmy Durante and many others.

Four of the Three Musketeers

Saturday, June 24 (7:30 p.m.)
Duck Soup (Paramount, 1933)
Thanks to the patronage of well-heeled widow Mrs. Teasdale (Margaret Dumont), Rufus T. Firefly (Groucho Marx) becomes dictator of the tiny country of Freedonia. But when the ambassador of the bordering nation of Sylvania declares his love for Mrs. Teasdale, Firefly declares war. The Marx Brothers are at their best in this raucous political satire, in which Chico, Harpo and Zeppo co-star as spies and counterspies. Directed by Leo McCarey, the zany comedy was added to the National Film Registry in 1990. The film will be introduced by Robert Bader, author of “Four of the Three Musketeers: The Marx Brothers on Stage.” Released on October, 2016, the Los Angeles Times called the book, “A new benchmark in Marx scholarship.”

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