A Night in Casablanca (United Artists Pressbook, 1946)

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"A composite impression of a motion
picture patron after viewing the antic be¬
havior of a trio of humorists in the comedy
extravaganza "A Night In Casablanca”.

THE MARX BROTHERS ARE BACK
.AND YOU’VE GOffT

in “The Howl Raiser of 1946”

Copyright MCMXLVI by United Artists Corp., New York, N. Y.

X 0

ARE GOOD
TO THE
LAST LINE!

Look Who's Been Telling The World
About "A Night in Casablanca!

i//

These exceptional national breaks have been serving notice on your
patrons not to miss the Marx Brothers when they return to your theatre
in their latest howl-raiser, “A Night In Casablanca

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you know why everyone is just waiting to see “A Night In Casablanca”. . .
these are just samples of the tremendous national breaks which have told the world
about “the howl-raiser of 1946.”

THE AIR WAVES ARE CRACKLING WITH NEWS

OF THOSE MARXES!

While the national magazines
have been plugging the Marx
Brothers in “A Night In Casa¬
blanca,” radio has been doing
more than its share in letting
people know the boys are around—
and ready for laughs.

Reproduced here is a list of the
radio programs which have cov¬
ered the picture — plugging the
title, theme and the Marx Brothers
—as of press-time. Naturally the
breaks are not all in yet because
radio must work close to the gen¬
eral release of the picture — but
there are enough major shows
here to give you an idea of the
kind of interest—and the kind of
audience draw the Marx Brothers

are creating.

Here is the list:

These shows

KATE SMITH SPEAKS

CBS

33.5

MANHATTAN MERRY-GO-ROUND

NBC

12.3

ELLERY QUEEN

CBS

12.1

THE ANSWER MAN

WOR

30.0 weekly

COLGATE NEWSREEL (BILL STERN)

NBC

10.3

MARY MARGARET McBRIDE

NBC

23.5 weekly

MAGGI McNELLIS

NBC

18.0 weekly

LEAVE IT TO THE GIRLS

MUTUAL

4.5

COMING ATTRACTIONS

WNEW

3.0

. . . and these commentators

ADRIENNE AMES WHN

DOLORES CRAIG

WHOM

PAULA STONE WNEW

SHIRLEY WOLFF

WJZ

JUDITH ALLEN WHOM

STEVE ELLIS

WMCA

RHODA CANTOR WLIB

JERRY LAWRENCE

WMCA

FRED ROBBINS

WOV

T>his radio coverage means—
literally—that every man, woman
and child in the United States has,
at some time or another, heard of
and knows about the coming of
“A Night In Casablanca.” That
is direct pre-selling,with box-office
in mind.

. . . Remember this listing does
not include the innumerable radio
plugs for “Who’s Sorry Now,” hit
tune of the film.

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HERE’S HIT-TUNE PRE-SELLING HEPSTERS
CALL ‘SOLID’...YOU’LL CALL ‘BOX-OFFICE!’

You take an all-time favorite, like "Who's Sorry Now;" you feature it in an all-time hit
comedy like "A Night In Casablanca;" you add a dash of solid merchandising and
before you know it you've converted that hit song into the best pre-seller anyone ever
had for a picture.

That's a brief synopsis of the hard-hitting, space-grabbing, audience-selling job that
is being done for you coast-to-coast with the song "Who's Sorry Now!" For a break¬
down that adds up the BOX-OFFICE score, take a look at this:

The cover, reproduced here, is seen in the stores and windows of the more than
50,000 music dealers and department stores throughout the nation ... it carries the
credits and the faces that tell the people "the Marx Brothers are back!"

This is the record of radio and juke-box coverage ALREADY accorded the tune:

"Who's Sorry Now" has placed consistently among the FIRST ten top tunes on shows
of every description!

This is the record of brand new top recordings which plug the music—AND THE
PICTURE

BINC CROSBY—with Eddie Heywood's Orchestra (DECCA)

HARRY JAMES (COLUMBIA)

DAVID STREET (DIAMOND)

TINY HILL (MERCURY)

... and there are more, many more to come!

AND FINALLY this is the special campaig/i by Mills Music to assure YOU the greatest
advantage from the heavy plugging given the music.

(1) Ads in 'Variety/ 'Billboard' and 'Music Business/ plugging the music — giving full
and important credit to ''A Night In Casablanca."

(2) Music dealers throughout the nation will be bombarded with "jumbo cards" which
plug the film and offer suggestions for tie ins and co-op ads.

(3) Mills Music will embark on an extensive letter writing campaign, urging dealers in
your city to work on a cooperative basis when the picture reaches your town.

(4) And to round out the entire promotion the music publisher is carrying on a regular
publicity campaign including column squibs and the placement of photographs which
add to the pre-selling of the picture.

if you want any further information or suggestions or aid in boosting your campaign in
conjunction with the music please write or contact—

Bernard Kalban
Mills Music Inc. or
1619 Broadway
N. Y. 19, N. Y.

Paul Mills
Mills Music
6425 Hollywood Blvd.
Hollywood 28, Calif.

The exploitation possibilities in your own situation using the music are unlimited.
Local night clubs, department stores, disc jockies, popular singers and orchestras
all can be tied in directly for heads-up plugging of the picture.

GROUCHO Personnally PRE-SELLS
IN THIS OUTSTANDING BLADE TIE-UP!

Personna Blades have a Personnal sell¬
ing peg for you with this laugh-packed
ad which features Groucho Marx and
credits for “A Night In Casablanca.’*
The ad will appear in:

SATURDAY EVENING POST
ESQUIRE
TIME
TRUE

That’s four magazines with combined
circulations running in the tens of mil-
I lions , giving you still another great pre¬
seller for the great comedy hit of a decade!

COLLIER HIGHLIGHTED
IN NATIONAL PROMOTION

DuPont Bristles have tied in with “A Night In
Casablanca’ ’ with Vz page two color ads featuring
Lois Collier, one of the feminine leads in the
film, along with prominent credits for the film.
The ads, which are scheduled to give maximum
selling advantage, have been placed in some of
the nation’s leading magazines. At press time,
the following ads and publications have been set:

CIRCULATION

LIFE.MAY 27 ... . 3,900,000

EVE^ POST ‘ ’ JUNE 1 • • • • 3,370,000

LOOK.JUNE 25 ... . 1,900,000

COLLIER’S . . . JUNE 15 ... . 2,830,000

With a readership of more than 11,000,000,
DuPont really is telling the people about “A
Night In Casablanca”.

Page Four

.HAS BEEH AVPEP W/TH THESE /

HAT/OH AC T/E OPS'

GLO VER ADS FEATURE FEMININE
LEAD OF ‘A NIGHT IN CASABLANCA’

Still another tie-up which will prove an invaluable
pre-seller is the Glo-Ver Beauty Shampoo ad which
features Lisette Verea, feminine lead in "A Night
In Casablanca." The ad which also carries promi¬
nent credits for the film, will be placed in important
magazines which have a large feminine readership.
To date ads have been placed in

DELL MODERN CROUP .2,786,936

5 publications

HILLMAN S WOMEN'S CROUP.1,466,259

4 publications

HUNTER SCREEN UNIT .1,049,029

4 publications

SONG HITS . 592,590

1 publication

For one ad alone this tie-up will reach 5,894,814
potential patrons for "A Night In Casablanca!"
Along with the other
pre-selling ads on
other products the
cumulative effect
will be tremendous¬
ly successful in
bringing "A Night
In Casablanca" to a
vast audience
throughout the na¬
tion.

ZIPPO ZIPS INTO THE NATIONAL PICTURE
WITH THIS OUTSTANDING PRE-SELLER!

Zippo Lighters zip in with this outstanding tie-up which adds another brother
to ihe famous trio. Henceforth they will be known as Groucho, Chico,
Harpo and ZIPPO. The Zippo ad, which does an excellent pre-selling job,
carrying pictures and credits for "A Night In Casablanca" will appear in
a whole flock of important national magazines which reach a mighty audience.

The ad shown here appears in:

SATURDAY EVENING POST 3,370,000

ESQUIRE . 626,000

COLLIERS .2,830,000

COSMOPOLITAN .2,028,000

TRUE 450,000

PIC . 516,000

A fast addition reveals that at the time the picture breaks 9,820,000 MORE
READERS will be learning about, and sold on, "A Night In Casablanca!

That's a circulation reaching—SELLING—more than 18,000,000 readers
just about the time the picture reaches YOUR own community!

Stratford Pen is on the pre-selling bandwagon for “A Night
In Casablanca” with these attractive ads which will be seen
in the nation s most popular national magazines. For an idea
of the extensive coverage accorded the film through these eye¬
catching ads, here is the breakdown of the magazines and their
circulations :

True Story .June .2,160,000

Liberty .May.1,180,000

Saturday Evening Post .April .3,370,000

Look .April .1,900,000

Life .March ...3,800,000

Christian Science Monitor .April . 154,000

New York Times .March .... 817,960

Holiday .June . 50,000

Rotograure Sections

of 21 newspapers.April 14th

(A combined circulation
reaching more than
5,000,000 readers!)

STRATFORD PEN TIE-UP REACHES
RECORD MILLIONS.

Page Five

Make A NIGHT

in CASABLANCA

aNIGHT IN YOUR OWN TOWN!

Make a “Night In Casablanca” the biggest
thing to hit your town with this “Night In
Your Town 9 campaign which covers all
the publicity angles:

NEWSPAPER SLANT

Interest your local paper in carrying a feature story or possibly
devoting a column to "A Night in (Nightclub, Restaurant or
Leading Hotel)." This is a "natural" for reader consumption
as it is bound to carry colorful happenings in town. Copy line
in the story should read: "A Night in (Name of Town) can be
as exciting as "A Night in Casablanca."

NIGHTCLUB EVENT

"A Night in Casablanca" party could be staged in a nightclub,
country club or city club sponsored by a local charity. The affair
should be a costume party with a prize for the best oriental
costume. The gayety and fun in the picture, the exotic atmos¬
phere, the zany atmosphere created by the mad Marx Brothers,
all are the basis for a successful local "Night in Casablanca"
party.

PHOTOGRAPHERS CONTEST

Through your local paper conduct a contest for the most beau¬
tiful picture to earn the title A NIGHT IN (NAME OF TOWN),
all photographs to be night shots taken in your own city with
guest tickets and prizes to winners of this contest inspired by
A NIGHT IN CASABLANCA.

CO-OP MERCHANT AD

A co-op ad can be worked effectively with any night time busi¬
ness such as hotels, restaurants, nightclubs, etc. For a humorous
example of the kinds of co-op we mean see the copy below:

If you’re limp from laughing

at A NIGHT IN CASABLANCA
A Night in JOE’S TURKISH BATH
Will Put You Back in Form

ruux

PACKED

WITH

STUNTS

AND

GAGS!

FOR DELUXE RESPONSES TRY THIS ONE!

Here’s an angle that hotels will nibble at—you can involve
the entire staff from the manager right down to the chamber¬
maids.

Promote the newspaper space for this stunt and get the local
scribe to interview these people. Idea is to have them relate the
most amusing or unusual experience they encountered in the
hotel business.

Have the published interviews tied in with your showing of
“A Night in Casablanca.” A good way to do this is to run a few
lines of copy directly underneath along these lines : FOR ZANY
HOTEL ESCAPADES, SEE THE NEW MARX
BROTHERS PICTURE, “A NIGHT IN CASABLANCA”
AT THE . THEATRE ON .

Here's a newspaper con¬
test with art attached
that makes a swell audi¬
ence builder for your-
playdate. The Marx
Brothers are noted for
their zany comedy and
snappy comebacks. In
the layout shown, we
give you the actual dia¬
logue used along with
each still. The idea is to
have the participants
think up a line that tops
the one used.

This one will provoke a
lot of interest and is a
set-up for lots of free
publicity. Set yourself
and the newspaper edi¬
tor as judges. Award
guest tickets to the win¬
ners for "A Night in
Casablanca." Order
Mat 4A (.60).

A ‘TOPPER’ FOR THE PAPERS!

IVE SEEN FIVEo'cLOcA
SHADOW, BUT
THIS IS
RIDICULOUS

% \

WIN TICKETS TO “A NIGHT IN CASABLANCA”

OF COURSE MEN ARE
ALL ALIKE-DON’T
LET ANYBODY
TELLYOU
DIFFERENT

WIN TICKETS TO “A NIGHT IN CASABLANCA”

Page Six

MAT (4A)

WHAT’S CASABLANCA’S
FATAL CHARM?

The name "Casablanca" is one to conjure mystery,
intrigue and romance for Americans. Since the
war, particularly, Casablanca has become a spot
which holds a maximum of fascination for the peo¬
ple.

You can convert this interest into a popular con¬
test which will have terrific effect in town.

Contact your local newspaper and set up a reader
contest on the theme "I WOULD LIKE TO SPEND
A NIGHT IN CASABLANCA BECAUSE . .
Letters should be limited to 100 words or less and
prizes should go for the funniest as well as the most
interesting.

Arrange to break the contest about two weeks be¬
fore you play the picture and time it so that final
awards can be given the night of your opening. If
possible, have the newspaper cover the event as a
follow-up on the essay contest.

The still reproduced on the right is S-80. It should
have a lot of appeal as a throwaway announcing
the contest or running with the actual contest in the
newspaper. Use it and get your paper to use it.

Another variation on this same stunt is to plant it
with a local radio quiz show with prizes going to
those giving the quickest capsule reasons for
wanting to "Spend A Night In Casablanca."

This Newspaper
Contest Will
Tell Them!

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;upmiAV(jpp puv spoo6 6ui}ao4s 6uouiv spziu/f ppqcrb
-q;AO/n> Cjjvpa puios p;omoA<j ‘luduidonpui pdppv uv sy

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duo puv puvq siq uo pcioj6 6uixoq puo ‘suoiPP}OA(j uiqs
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‘mjif pq; up • suoi;viavci Cuunj uoipiiu v o; jps;i spupj
pmn;soj 6upupj ' pq; puv popovA# Capo, si }un;s pq£

’jvuiGiao ;som

pq; Aoj ppApffo dq pjnoqs spziaj ’jo quiq; uvo sXoq pq;
uoi;viavcl Cuv jo pq uvo s;if;no aqx ‘SPiun;soo Ouipupj
;spiuunj puv ;spjjoo6 dq% psppp uvo oqca spvj dq;
(( vouvjqvsvp) ui iqb}pp y,, jo fiuiupcfo pq; o; 6ui;iaui
pav nok ;vq; AP(jv(jscn>PU pool auoC qfinouq; ppunouuy

•sqnp

supiu puv sCoq 6uomv (fn ;ps /Cjisvp uvd no/C ;sp;uod v
o; /dj]vun}vu jps;i spupj doudnbds bitioupf Cqpvm pqj^

i9V9 9NI9N3J AJ009 SIH1 HUM NMOQ 30ISd(l IE NHH1 TIM

THERE’S

GOLD

IN

THEM

THERE

MARXES!

The hilarious treasure-hunt which sparks the film suggests a stunt which can set
your town on its ear and make "A Night in Casablanca" a focal point of attention.

About a week before the mad and merry picture plays your theatre contact local
stores and arrange for the donation of gifts which will be won in the following
manner:

Through your local paper, or by means of throwaways announce to your commu¬
nity that you have available at your theatre "clues" as to the whereabouts of "treas¬
ure" hidden in stores in your town. To the first 25 persons who come to the box-

office of your theatre, these clues will be given.

Simultaneously with the announcement, have about 50 cards made up which give
gag clues leading to the gifts which the stores are donating. The clues, in the zany
spirit of the film, should be in a humorous vein as should be the gifts.

The copy at right illustrates the kind of gag gift and clue which can be given.

The name of the store where the "treasure" can be found should also be suggested
in the clue.

Arrangements should be made to insure that "A Night in Casablanca" gets full
credit for inspiring the hunt. Those locating the treasure will be asked to attend
the opening night of the film with their findings.

Have your local paper down to cover the event and try to set up interviews with
the successful hunters.

Page Seven

mnt mame

BOMBARD ’EM WITH LIMERICKS

A limerick contest is a heavy favorite with your patrons and a guaranteed space getter in your local
newspaper. Plant it in advance of play date together with still shown for maximum results. Contestants
fill in the last line of the limericks, with the cleverest lines rating guest tickets.

Still No. X-6

Still No. P-75

Groucho has taken a hanker.
To a hotel in Casablanca.

He harried the guests
With his Marxian jests

(His gags would tickle a banker)

The Count once owned a toupee
That Harpo spi-rit-ed away.

And in the confusion
There are laughs in profusion

(With the Marx brothers holding full sway.)

Still Pub-70

Still S-83

The film is a howling debacle
Full of gags that fairly crackle.

Take the sheik and his harem
How did Groucho envy him

(He can always play three-handed pinochle.)

When the three Marx brothers run wild
In their own inimitable style,

To your seat you'd best anchor
For "A Night in Casablanca."

(As laugh upon laughter is piled)

THIS APPEALS TO ‘DESIGNING’ WOMEN!

Beautiful Lisette Verea, star player of "A Night in Casablanca," also designs printed
dress materials such as this gown which she wears in the picture. With this as your
peg, you can interest the newspapers in a circulation building "design" contest; or
you can hold the contest in schools of design throughout the city.

Interest budding dress designers in submitting designs suitable for dress material
with "A Night in Casablanca" motif. Guest tickets should, of course, go to winners.

Art supplies should be given for a prize in co-operation with an art shop. A leading
designer or artist in town should act as the judge of the contest. Order Still S-102.

PLANT THIS “GROUCHO” STRIP

Let the newspapers know that the Marx
Brothers are back , funnier than ever , and with
their presold audience waiting for them. One way to do that is with this goofy “Groucho” strip.
Order Mat No. 5 A (.75) and plant it with your local news paper.

GROUCHO SPENDS M A NIGHT IN CASABLANCA" NOW PLAYING AT THE THEATRE

Chico, Groucho and Harpo react to an Here she is, lovely Ruth Roman. Finding Groucho consults his Arabian diction- One polite word leads to another and

Arab lassie they find lying around in Groucho the least gruesome of the ary to find some polite conversation now Groucho and the lovely Ruth are

a cafe in Casablanca. brothers, she beckons him to her side, which will win a lady's heart. improving international relations.

Page Eight

. FOX fflSS MU&MPeX MSS /

oxo lossy sioxrs:

THE

WAY

THESE

WORK

WILL

TICKLE

YOU!

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I

THEY’LL BE LAUGHING so hard at the picture that you won't want to miss
up on the chance to use all the laugh gags you can possibly get. Here are
a tew that have proved themselves top audience pullers. Use them for
laughs and business!

A BOWL

OF BUTTONS Make up a display for your lobby including a huge bowl
filled with buttons of every shape, kind and description. In front of the
bowl, along with stills from the picture, carry a line of copy reading:

REPLACE THOSE BUTTONS YOU LOST LAUGHING AT
"A NIGHT IN CASABLANCA"

Compliments of the Management . Theatre.

PIPE THE

LAUGHS Hook up your loudspeaking system so that the laughs can be
piped into your lobby where they can be heard by passersby. A sign on
your box-office should read:

THESE LAUGHS ARE COMING TO YOU BY COURTESY
OF THE LAUGH-HAPPY AUDIENCE
NOW SEEING

The Mad Marx Brothers in their latest, howlarious comedy
"A NIGHT IN CASABLANCA"

A SEWING

KIT In the same vein as the bowl of buttons, display a large sewing kit
including the biggest needles you can find along with this copy:

REPAIR THOSE SEAMS YOU SPLIT LAUGHING AT
Those Mad Marxes in
"A NIGHT IN CASABLANCA"

A LAUGH

METER Rig up a "meter" with a movable arm which swings easily back
and forth. Display it in your lobby with the following copy:

FOR LAUGHS THAT HIT THE TOP OF THE METER EVERYTIME
SEE THE MAD MARXES IN THEIR LATEST
LAUGH-FEST

"A NIGHT IN CASABLANCA"

These are just a few of the many laugh gags that can be worked. There are
many others which will fit in best with your own situation. Try them out!
Laughs bring box-office results!

SOME MORE LOONY LOBBIES THAT’LL HAVE ’EM
SWARMING INTO YOUR THEATRE

1. Follow-up on the Orien¬
tal Motif :

Carry the oriental motif right
into the theatre by having your
cashier and usherettes dressed
as harem girls. Follow through
on this stunt by garbing your
ticket-taker as an Arab. It sets
the mood for the picture!

2. Crystal Ball Gag

Set-up a crystal ball on a velvet
covered table in your lobby a
few days before the playdate.
The copy behind the ball should
read: "There's a laugh-riot in
your future when you see 'A
Night in Casablanca' on
It's an attention-getter!

3. Smoke ’Em Out With
This One

Rig up a section of your lobby
as an Arab tent, complete with
cushions on the floor. Have a
man reclining on the cushions
dressed in a business suit and
wearing a red fez. He should be
made up to resemble Groucho
Marx.

4. Still Blow-Ups

The four stills pictured below
can be the basis for excellent
gag lobby displays which will
cause plenty of laughs and com¬
ment. The copy which should be
carried with each of the stills
appears below the pictures. Just
blow 'em up, mount them giving
display to the copy line.

Still —PL/540 —“l raised this camel Still — X57 — "Gad—look at the time!

from a butt.” A quarter to eleven.”

Still — X37 — You men are all alike.
Yes, and dont let anybody tell you
any different.

Still — X7—You gotta get that wom¬
an out of your room.

Why, do you mind if 1 live danger¬
ously?

Page Nine

We're all out of these gadgets — but
come in and see how smoking can be
a pleasure.

SEE "A NIGHT IN CASABLANCA" at
♦he . Theatre.

Still - X57

Flowers are sweet sentiments. Try our
wide selection for all occasions.

SEE THE MARX BROTHERS IN "A NIGHT

IN CASABLANCA" at the .

Theatre.

Still

It s that after-shave lotion that ge
'em. Come in and insult our Men
Lotion Representative.

SEE THE MARX BROTHERS IN "A NIGH

IN CASABLANCA" at the

Theatre.

Still

You^ won’t have any trouble telling tKe
right time with our watches.

SEE THE MARX BROTHERS IN "A NIGHT

IN CASABLANCA" at the .

Theatre.

EVEN THE WINDOWS SELL THOSE ZANY MARXES!

7*? ^?Aede SfeeccaC 'M/ittdoiv fan Sifcf f

Blanket your town with these window displays and posters! They’re goofy and looney and
completely in the spirit of the film.

MILLINERY - Lois Collier,
Still LMS 96

FOR SPECIAL FOOD SHOPS

If there are any food stores in
town that carry special food deli¬
cacies they will stock Yogurt. Be
sure to supply them with this still
of Lisette Verea eating Yogurt, No.
Pub 17

DINNER CLOTHES - Lisette Verea,
Stills LMS 106 and 1 3

THREE-WAY STILL, Pet Shop, Tele¬
phone Company, Negligee Shops,
Lisette Verea, Still LMX 36

"GOOD HUMOR " STILL

Supply Good Humor cars with this
Chico Marx Good Humor still.
There’s “A Night in Casablanca”
blonde thrown in for good meas¬
ure. Order Still No. Pub 18.

SPORTSWEAR - Lois Collier,
Stills LMS 93

JEWELRY — Lisette Verea,
Stills LMS 34

Still - S86

Still Pub-79

THIS CHASE BALLY HAS
THAT OLD WORLD CHARM

ALL SIGNS

f

HUNT TO...

“A NIGHT IN

CASABLANCA

»»

There are plenty of laughs in these wild and wacky signs which let
your town know those mad Marxes are back. The signs are easily
constructed and can be placed in popular sections in town!

KMd

V

SORRY . . .

WE’RE ALL SPENDING

"A NIGHT IN
CASAB LANCA"

dec ud in t£c tK&iKiHfyf

\ TAKE THE NEXT TURN FOR LAUGHS\
/"A NIGHT IN CASABLANCA" /

fa* (fatten d/tofid

| fa* touted

YOU’RE NEXT!

NO VACANCY!

ttoi iftettd t£e

to taa^ti at

“A NIGHT IN CASABLANCA”

“NIGHT IN
CASABLANCA’’

evit^ t£e

MARX BROTHERS, TOO!

These are only a few examples, ol
course, pick your spot and plani
your sign, and watch everyone fighl
to SDend 44 A Klinht In rncnklrm^ 11

F

1

\

v n in ^aSQDIOnCO.

Another street bally that will grab attention is to have three men, dressed as the
mad Marxes chasing a beautiful usher, dressed in a harem costume. Naturally the

foursome won’t move so fast that the signs they are wearing can’t be read.

(Girl) IF YOU THINK I HAVE TROUBLE
you ought to see what happens
when THE MARX BROTHERS spend
“A NIGHT IN CASABLANCA”
At the . Theatre

(Boys) WHY DOES THIS ALWAYS HAPPEN TO US?
It does again in our latest comedy riot
“A NIGHT IN CASABLANCA”
NOW playing at the . Theatre!

BEAUTY LAYOUT FOR COUNTER CARDS OR NEWSPAPER PLANTING

Lisette Verea star

1. Gather the curl* in a turkish towel in
preparation for a thorough cleansing of
the skin.

of "A Night in Casablanca" gives a ten minute lesson in

2. Massage a good emollient cream into
the skin with circular, upward movements.

3. Intermission for dressing—then darken
lashes with mascara still employing the
upward movement.

good grooming—

4. Then apply liquid or cream lip rouge
with a soft camel hair brush for a smooth,
luscious look.

Stills used are 32, 31, 30 and 29. That department stores and beauty editors will undoubtedly welcome this beauty aid is obvious.

On page four, we have reproduced
the cover for "Who's Sorry Now," the
song that's sweeping the country.
Follow up on this national promotion
by plugging this tune locally.

Tie it up in music shops using stills
S-65, S-l7, Pub-73. Mounted, they
make a swell plant for a window dis¬
play or store counter. Credit line can
read: "You won't be sorry when you
get your copy of 'Who's Sorry Now'
here. See the new Marx Brothers film
"A Night in Casablanca" coming soon
to the Theatre."

GET IT RADIO COVERAGE

Bombard your local disc jockey
with requests to play this record¬
ing on the air. Gag it up by send¬
ing him postcards that read: "Play
'Who's Sorry Now,' the song from
my new picture, 'A Night in Casa¬
blanca'—or else, (signed) Groucho
Marx." Make it a running gag
using the names of the other Marx
Brothers. It's good for a laugh and
a reading over the air.

25

Words

50

Words

75

Words

100

Words

PUT ’EM ON
THE AIR!!

Hold on to your hats! The Marx Brothers are back in
a new laugh-howl, "A Night in Casablanca" opening
soon at the Theatre. Be sure to see it.

•

It's Groucho, Harpo and Chico Marx again at their zani-
est, and latest, in "A Night in Casablanca" opening on

. at the . Theatre. You'll go from

chuckles to laughs to howls as you watch this goofy trio
go through their paces. Yes, "A Night in Casablanca"
is an evening well-spent.

•

Can you imagine what happens when the Marx Brothers
set out to uncover a spy ring? Can you picture the zany
laughs—the goofy situations? If you can, then you know
what a riotous evening is in store for you when you see
the new Marx Brothers film, "A Night in Casablanca"
at the Theatre. It's by far the funniest picture

they've ever appeared in—and that's what you'll say,
too. So be sure to see "A Night in Casablanca" at
the . Theatre.

•

There's intrigue—romance—music—and that zany trio,
the Marx Brothers, all wrapped up for you in the new
laugh-riot, "A Night in Casablanca" which opens soon

at the .Theatre. See the mad Groucho, as the

manager of a hotel, run down the guests in some of
the most hilarious scenes ever flashed on the motion pic¬
ture screen. He's aided and abetted by Harpo and
Chico, and the combination makes for continuous
laughter. You won't want to miss "A Night in Casa¬
blanca." It's the kind of entertainment that comes along
just once in a great while.

Yes, time really MARXES on when you
play the hilarious radio spots which
\/f A 73 V" O have been made up for "A Night In
Casablanca." Ask your United Artists
field man about the spots which are
ready NOW for the picture.

TIME

ON!

THOSE 2ANY MARXES/// *S$2*£

iT he mad map's brothers ape howlapious by

PAY or by night. ...

WF ■ ' 1 REMEMBER THE

W.d goings on at

r<aMrmJi.-Vtfe. *a night at

"" » THE OPERA"

Vhe madcap

GOOF/NESS OF

"A DAY AT
THE RACES"

Well , THE MARSES ARE WORKING AT NIGHT AGAIN
IN THEIR LATEST AND ZAN/EST .

"A NIGHT IN CASABLANCA!'

Order Mat 2D—.30

MAT (2D)

WOO ’EM WITH MUSIC

Page Tiuelve

[

p l

J B

L 1

1 C I

1 1

CO

E C 1

r i

ION j

DAVID L. LOEW

presents

THE MARX BROTHERS

(Groucho) (Harpo) (Chico)

in

“A NIGHT IN
CASABLANCA”

with

CHARLES DRAKE • LOIS COLLIER

Lisette Verea Sig Ruman
Dan Seymour Lewis Russell

Directed by ARCHIE MAYO

Original Screenplay by Joseph Fields
and Roland Kibbee

Released Thru United Artists

THE CAST

Ronald Kornblow

Rusty

Corbaccio

Beatrice Reiner

Pierre

Annette

Capt. Brizzard

Galloux

Emile

Kurt

Count Pfefterman

Groucho Marx
Harpo Marx
Chico Marx
Lisette Verea
Charles Drake
Lois Collier
Dan Seymour
Lewis Russell
Harro Mellor
Frederick Gierman
Sig Ruman

Mat 2E—.30

Groucho “Great Lover” Marx has succumbed utterly to the beguiling
charms of Lisette Verea in the latest Marx Brothers’ comedy, “A Night

in Casablanca.” This David L. Loew production is at the.

Theatre thru United Artists release.

Mat 2H—.30

Ghico and Harpo Marx giving Sig Ruman the old run-around in the
hilarious new David L. Loew-Marx Brothers’ production, “A Night in
Casablanca,” at the. Theatre thru United Artists release.

SYNOPSIS

Ronald Kornblow (Groucho Marx), Rusty (Harpo
Marx) and Corbaccio (Chico Marx), as unkempt and un¬
scrupulous a trio of likable rascals as you can imagine,
find their fortunes tossed together in post-war Casa¬
blanca.

Kornblow is a new fill-in manager of the swank Hotel
Casablanca—fill-in because the last three managers have
met sudden, mysterious death in quick succession. Cor-
baccio’s business is fleecing tourists by operating the
Yellow Camel Company, and Rusty is the hotel roust¬
about and sometimes valet to a mysterious, ominous char¬
acter known as Count Pfefferman (Sig Ruman), a guest
at the hotel. The latter’s intimates are beautiful and
equally mysterious Beatrice Reiner (Lisette Verea), who
sings at the hotel, Kurt (Frederick Gierman) and Emile
(Harro Mellor), all also of uncertain nationality.

Mysterious and violent happenings at the hotel lead
to the suspicion that it is the cache for a fabulous treasure
of loot smuggled by the Nazis out of France after the
invasion. Lieutenant Pierre Delbart (Charles Drake), a
discredited French flyer, and his fiancee, Annette Renard
(Lois Collier) fail to convince the provincial governor-
general, Galoux (Lewis Russell), and Police Captain Briz¬
zard (Dan Seymour) that the loot and murders at Hotel
Casablanca are somehow involved with each other. Pierre
wants to find the treasure because it was he who was
forced to fly it out of France for the Nazis and this is
the key to his being tabbed as a collaborationist.

While it becomes increasingly obvious that the Count
and his friends are anxious to get control of the hotel, the
unsuspecting Kornblow is enslaved by Bea’s obvious
charms and plays into their hands. Rusty, however,
eavesdrops on the Count’s plot to do away with Kornblow
and take over the latter’s job. So Corbaccio assumes the dubious
chore of body-guarding the love-smitten Romeo. This surveillance
hampers Kornblow’s amorous peccadillos but it also helps balk two
attempts to rub him out.

Pierre and Annette need money to buy key information bearing on
their suspicions. In an attempt to aid them Corbaccio and Rusty get
into a jam and also involve Kornblow when Rusty “breaks the bank” in
<■ the gambling casino. For the Count convinces Galoux and Brizzard that
the ill-assorted trio has “fixed” the roulette wheel. So they are hustled
off to jail while the count takes over Kornblow’s job.

Rusty has discovered, however, that the treasure horde is hidden in
the hotel.

But the Count, with the hotel in his hands and the troublesome, if
bungling trio, in jail, begins to move. After having Pierre arrested,
he and Kurt and Emile plot a quick plane getaway to South America
and begin moving the loot to trunks in the hotel basement. Bea, they
plan to doublecross and leave behind.

Kornblow, Rusty and Corbaccio escape from jail and are tipped off
by Bea on the Count’s getaway plans. . They send Annette after Pierre
and then hurry to the hotel to try to foil the Count in his escape. But
their fumbling attempts cause them and Bea to be locked up in trunks
and spirited out with the treasure horde. Enroute to the Count’s secret
airport, however, they extricate themselves and are picked up by Pierre
and Annette. Together they pursue their quarry to the hideout.

The Count and his henchmen are taxiing for a takeoff when the
doughty pursuers overtake them. After a series of hair-raising mishaps.
Kornblow, Rusty and Corbaccio manage to board the taxiing plane and
subdue the crew.

By now Brizzard and Galoux are in hot pursuit and are fully appraised
of the Count’s identity as a notorious Nazi leader. They take the ab¬
sconding villains in custody, assume charge of the loot and give a clean
slate to Kornblow, Rusty and Corbaccio while all give their blessings to
the vindicated young lovers, Pierre and Annette.

Mat 1J—.15

A study in moods. Harpo Marx
as he appears in “A Night in Casa¬
blanca,” the David L. Loew-Marx

Brothers’ production at the.

Theatre thru United Artists release.

Page Thirteen

The ‘Mad Marxes’ a Knockout
In Their Current Comedy Hit

( Prepared, Review)

One of the rare treats of the early 1946 cinema season was brought
to town yesterday when those fabulous Marx Brothers—Groucho, Harpo

and Chico—opened up at the . Theatre in their latest and

funniest film travesty, “A Night in Casablanca.” It is a United Artists
release.

For four years, too long a time altogether, these mad Marxes have
been absent from the screen, spending their time entertaining the boys
in hospitals and camps here and abroad. Now, in this hilarious film
produced by them in association with David L. Loew, they can again
be seen in all the delightfully absurd antics that have endeared them
to millions of theatre-wise fans all over the world.

The story is set in the post-war atmosphere of colorful Casablanca,
with a swank hotel as the center of action. The inimitable Groucho is
in charge of the modus operandi, with the completely wacky assistance

Mat 2G—.30

Chico, Groucho and Harpo are cutting capers again in their current

laugh-riot, “A Night in Casablanca,” due at the .Theatre

on.It is a David L. Loew-Marx Brothers’ production

released by United Artists.

of brothers Harpo and Chico. The plot, if anything so amusingly con¬
trived can be called a plot, concerns a ruthless group of Nazis masquer¬
ading as Dutch aristocrats who have smuggled the hidden European
art treasures and jewels into the hotel prior to shipping them to a South
American hideaway. How the Brothers Marx foil this plot is some¬
thing to make audiences roll in the proverbial aisles. Some of their
gags are right out of this world.

The subtle hand of Archie Mayo was at the directorial helm, and
he is to be complimented for the amazingly deft manner in which he
handled these zany but utterly beguiling brothers.

As usual, the Marxes have surrounded themselves with a fine support¬
ing cast. Sig Ruman plays the bogus Count who uses his Nazi wiles to
get rid of Groucho; Lisette Verea, a Roumanian songstress who makes
her film debut in the picture, aids him as an alluring adventuress; and
lovely Lois Collier and that new threat to Van Johnson, Charles Drake,
add a nice note of young romance to the story. Other important roles
are played by Dan Seymour and Lewis Russell.

But, in the last analysis, the film belongs completely to Groucho,
Harpo and Chico, and if there are three more thoroughly wacky, or
three more thoroughly delightful comedians in the theatre, this reviewer
has yet to discover them. For a world still groggy from the war, “A
Night in Casablanca” is like a glass of bubbling champagne, guaranteed
to put a sparkle in your eye and leave a laugh on your lips.

/ , -\

No Harem Can Scare’m

Groucho “no harem can sca/re’m” Marx fluttered his agile eyebrows
one day during the making of the mad Marxes' current laugh riot, “A
Night in Casablanca ,” while the cream of Hollywood’s “body brigade”
passed in review.

Selection of twenty-eight lovelies was Groucho’s enticing chore. They
can be spotted with him in the harem scenes of the film when it opens

next . at the . Theatre. Harpo and Chico were

barred from the judge’s stand on Groucho’s argument that they had no
part in the harem sequences.

“A Night in Casablanca” was produced by David L. Loew, in associa¬
tion with the Marxes. It is a United Artists release.

X - d

Harpo’s Chasing Blondes Again
In “A Night In Casablanca”

Anyone who was in the vicinity of the General
Service Studios in Hollywood during the filming
recently of “A Night in Casablanca,” starring
those three zany Marx Brothers—Groucho, Harpo
and Chico—might have heard high-pitched femi¬
nine screams emanating from the interior. We
want to assure them that it did not mean that
the Men from Mars had landed nor that the for¬
mula for nylons had been reported lost. The
screams probably came from one of the blondes
whom Harpo fiendishly pursued all during the
picture.

The Mad Marxes, as they are generally called
in Hollywood, are back with all their well-known
enthusiasm after a long absence. In collaboration
with David L. Loew they produced this current
comedy which has its locale in Casablanca,
where anything can happen. The story involves
international intrigue, a poignant love theme,
stolen art treasures, and murder!

The young love interest is portrayed by Lois
Collier and Charles Drake. Drake has just been
signed by David L. Loew to a seven year contract.

Songs and glamour are provided in the person
of red-haired, svelte Lisette Verea. Miss Verea,
the Roumanian threat to Hollywood pulchritude,
was imported from New York after Director
Archie Mayo discovered her singing in a night
club.

Supporting roles are played by Sig Ruman,
Frederick Gierman, Harro Mellor, Lewis Russell
and Dan Seymour. The film, a United Artists
release, opens on.at the.Theatre.

Mai IF—.15

Harpo Marx up to some of his
irresistible tricks in the new Marx
Brothers’ hit, “A Night in Casa¬
blanca,” at the . Theatre

thru United Artists release.

iiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii|!!i|i!iiiiMiiiiiiiiiiiiiiiii!iimiiiiiiiiiiiiiiiiiiiiiiiiHiiiiiiiiiiiiiiiiimiiiiiiiimimin

The Kite Express—A Marx Invention

The fabulous Marx Brothers’ passion for madness of every description is
definitely not confined to their play-acting. Their supposedly dull business life
is also fraught with nuttiness.

Their latest absurdity is a little gadget called the “kite express.” Simpler
than a Rube Goldberg nightmare, the Marxian invention consists of a twelve-
by-fifteen-inch manila envelope and a twenty-foot hunk of cord, which is an¬
chored to the second floor window of the Marxes’ office in Beverly Hills.

When this envelope flutters in the breeze outside that window, any Marx—
| Groucho, Harpo or Chico—in the vicinity hastens forthwith to a spot under the
| window looking like nothing less than Romeo beneath the balcony of his
| Juliet. Signaling his presence, he then impatiently awaits the lowering of the
| envelope.

| Inside, he’s likely to find important checks to sign or a packet of letters.
| In any event, said Marx retires to the curb, squats down and proceeds to
| take care of whatever it is. When finished, he signals secretary Rachel Linden,
| who retrieves the envelope by hauling in the cord. That’s hew most of the mad
| Marx Brothers’ business is conducted.

| “It’s simply impossible to get them inside an office,” Miss Linden con-
| fesses. “Even though it is only one flight up and there’s an elevator, they
| insist on staying outside.”

| The Marxes can be caught now at the.Theatre, where their latest

| riot, “A Night in Casablanca,” is holding forth. The film was produced by them
| in association with David L. Loew and released by United Artists.

Uproarious Funmaking In
New Marx Brothers' Film

Among significant cinema developments of
1946 is the portentous return of the Marx Broth¬
ers—'Groucho, Harpo and Chico—to the Holly¬
wood scene with their new comedy vehicle, “A
Night in Casablanca.”

It has been four years since the mad Marxes
performed their inimitable antics for cameras.
At that time they finished their eleventh pic¬
ture, with Groucho making his oft-quoted
grouse: “We’re tired of making the same story
over and over again—even if it is good!”

The Marxes subsequently and firmly refused
all offers to work before cameras—collectively
and individually. They made it clear that they
would resume only when they could make pic¬
tures according to the dictates of their own
experience as top entertainers for many years,
and not to meet a release date.

“A Night in Casablanca,” the Marxes’ uproar¬
iously funny new farce-comedy, is the answer.
To make it, the Marxes associated themselves
with Producer David L. Loew and arranged
for a United Artists release. Then, with metic¬
ulous care, the Marxes and Producer Loew
joined hands in transferring “A Night in Casa¬
blanca” from an idea into a completed picture.
Rarely, if ever, has a picture been given such
minute, studied attention in its preparatory
stages.

After virtually a year in preparation and film¬
ing, there’s no doubt at all that the Marxes have
another sure-fire hit on their hands. Their
story is post-war and as timely as tomorrow’s headlines.

Highlighting the reunion of the Marx Brothers and films was their title contro¬
versy with the Warner Brothers over rights to the use of the title “A Night in Casa¬
blanca.” Warners contended that it infringed on their Academy Award picture en¬
titled “Casablanca.” But Producer Loew, holding that no company had exclusive rights
to a geographical name, militantly pursued his contention and won his point after
months of controversy, thereby establishing a precedent of industry-wide importance.

An excellent supporting cast, including the charming Roumanian chanteuse,
Lisette Verea, Lois Collier, Charles Drake and Sig Ruman, assist the Marx Brothers

in making this unusual comedy a must-see on your list when it opens on.at

the.Theatre.

Mat 1G—.15

Chico Marx looks like this in “A
Night in Casablanca,” at the

. Theatre thru United

Artists release.

Page Fourteen

It’sThoseZany
Marx Brothers
Again!

An idea of what
goes on in “A Night
in Casablanca” due
at the.The¬

atre soon thru Unit¬
ed Artists.

Mat 3B—.45

“Music Hath Charms—”

The mad Marxes—as anticipated—go
from the sublime to the ridiculous, mu¬
sically, in their new David L. Loew pro¬
duction, “A Night in Casablanca.”

Chico gives his all to “The Beer Barrel
Polka” and “Moonlight Cocktail” on the
piano, while Harpo tackles his famous
harp once again with the “Second Hun¬
garian Rhapsody.”

.4s its theme song, the picture revives
the twenty-two-year-old, but perennially
popular tune, “Who’s Sorry Now.” The
enchanting Roumanian star, Lisette Ve-
rea, who plays an adventuress in the
film, sings this number delightfully.

“A Night in Casablanca” can be seen
now at the Theatre thru

United Artists release.

Much Ado About a Title
Field Day For the Marxes

Hilarious New Streamlined Comedy
Brings Back The Fabulous Marxes

The victory of Producer David L. Loew and the Marx
Brothers in winning rights to the title of their new film, “A
Night in Casablanca” over Warner Brothers’ militant pro¬
test, brings forth still another amusing Marx yarn.

The irrepressible brothers disclosed that if Warners had
not relinquished their stand that the word “Casablanca” was
their exclusive property, they, the Marx Brothers, were pre¬
pared to toss a grenade into the Warner camp in retaliation.

“We were preparing to protest Warners’ use of the title
‘Night and Day,’ winked the Marxes, “on grounds that it
conflicts with our old pictures, ‘A Night at the Opera” and
‘A Day at the Races.’ ”

Warners’ contention that “A Night in Casablanca” con¬
flicted with their four-year-old “Casablanca” raised a con¬
troversy that was settled, after several months of legal vol¬
leying, with a complete victory for Loew and the Marx
Brothers.

At one point during the heat of the argument, Groucho
tossed a verbal brickbat at the Warners, threatening with
whimsical malice to sue them in turn.

“We intend,” he grouched, “to prove that the Marxes
established rights to the designation ‘brothers’ prior to the
Warners. And we propose to take steps to prevent them from
calling themselves Warner Brothers.”

“A Night in Casablanca,” starring the three irrepressible
Marxes—Groucho, Harpo and Chico—bowed in at the
. Theatre on . thru United Artists re¬
lease.. The plot is filled to the brim with romance, interna¬
tional intrigue and, most important of all in a Marx Broth¬
ers’ film, outrageously funny gags. The cast includes glamor¬
ous Lisette Verea, Lois Collier, Charles Drake and Sig Ruman.

Screwy Marxian Slang!

While filming their current laugh hit, “A Night in Casa¬
blanca,” the zany Marx Brothers coined a new glossary of
identifications for co-workers and props.

To them the ear-phone equipped sound men were “The
Gestapo.” Stand-ins were “replacement troops!’ The cast¬
ing office was the “redistribution center.” The daily “ rushes”
were “Crosby nags” to Groucho. As he said: “They always
come in late.”

Zealous makeup artists were “ bobby-soxers” because they
were always sidelining at a Marx elbow. Prop men and set
dressers, who got in the Marxes’ hair by moving furniture
out from under them, were “storm troopers.”

But don’t get us wrong—the Mad Marxes love everybody.

“A Night in Casablanca” was jjroduced by David L. Loew
in collaboration with the Marxes. It is a United Artists
release and can be caught now at the . Theatre.

Nylon stockings, gar¬
ters that snap, radios,
automobiles and — The
Mad Marx Brothers.

Mark these down
among the good things
due early in 1946!

The Mad Marxes are,
in fact, long overdue.

It has been four years
since they plied their
zany wares before a
camera, and their un¬
forgettable capers have
been so missed that
theatres the world over
have reached back as
far as nine years in re¬
issuing their past suc¬
cesses.

It was the year of
Pearl Harbor that the
Marx Brothers quit
making monkey shines
before movie lenses.

And it was not until
about a year ago that
they shrewdly surmized
that even wars must
end, and when they did
the world would need
a great deal of cheer¬
ing up.

So, in association
with Producer David L.

Loew, the Marxes
formed their own com¬
pany to screen a new,

streamlined, 1946 model film comedy called “A Night in Casablanca.” Co-starring in this latest
laugh-riot are Groucho, Harpo and Chico.

The story concerns a small but dangerous group of disguised Nazi ne’er-do-wells, who make
a luxurious hotel in post-war Casablanca their headquarters. However, with Groucho tempo¬
rarily made the manager of this hiding place for fabulous confiscated European art treasures
and precious jewels, the Nazis are more than slightly frustrated. Added to this, Harpo, as
a wacky valet, and Chico as a completely zany modernistic camel driver, further confuse
the course of pure knavery.

The excellent supporting cast includes the talented and beautiful Roumanian songstress,
Lisette Verea, playing an adventuress in league with the thieves, Lois Collier and Charles
Drake as romantic love interest, and Sig Ruman as the Nazi leader masquerading as a Dutch
aristocrat.

Joe Fields, co-playwright of “My Sister Eileen,” “Junior Miss” and “The Doughgirls,” and
Roland Kibbee, ace writer formerly with Fred Allen, wrote the original script of the film,
which Archie Mayo ably directed. Werner Jannsen and his Los Angeles Symphony Orchestra
were responsible for the lovely musical score.

The film, a United Artists release, bows in on . at the . Theatre.

Mat Z t —.3U

Travel by camel is quaintly streamlined in the Loew-Marx Brothers’

film, “A Night in Casablanca” at the . Theatre thru

United Artists release.

warn

lll'llllllllllllllllii'ciillllllEillH

Laughter Greets Groucho—The Great Lover

IIIISIIIIIllllllilllililllH

Mat IB—.15

Lisette Verea has no trouble mak¬
ing a softie out of Groucho Marx
in “A Night in Casablanca,” open¬
ing on. at the.

Theatre thru United Artists.

There certainly was never a dull moment on the set when the Marx Brothers
were filming their current laugh-maker, “A Night in Casablanca,” even when
but one-third of the mad Marxes, Groucho, was on-stage emoting by himself.

Groucho, on one of these occasions, wore his usual leer and the lavish smear
of grease-paint moustache above it, and his inevitable cigar. He also wore the
baggiest tropical suit this side of Bagdad, which hadn’t, obviously, been pressed
for decades.

At the moment Groucho was'resting after a session of making amorous passes
at flame-haired Lisette Verea, the Roumanian beauty who is making her Ameri¬
can film debut in the David L. Loew production starring Groucho, Harpo and
Chico. The site of Groucho’s beachhead was Miss Verea’s boudoir.

Two prop men began festooning him, for the sixth take, with a trayload of
glasses, a champagne bucket on a tripod, a portable phonograph and, lastly, a
bouquet of roses. Groucho, having by this time run out of hands, seized the last
in his teeth, somehow managing to retain the cigar also. Thus, fairly dripping
love-making equipment, he joined Miss Verea outside the door for their entrance.

The cameras turned. Groucho waddled through the door after Miss Verea.
“Are you sure,” she queried sweetly as she entered, “that you have everything?”

Groucho, according to the script, should have returned a dying calf look. But
the fiendish Marxian impulse was too potent on the sixth take. Loosening the
dangling bouquet from his teeth, he grouched: “By the way, if we’re going to go
steady, maybe we’d better get us a small truck.” Naturally the scene was ruined,
but the off-stage laughter and applause was terrific!

“A Night in Casablanca” can now be seen at the . Theatre thru

United Artists release.

Mat IA—.15

Groucho Marx in a traditional
pose. Scene from “A Night in
Casablanca” at the.The¬

atre thru United Artists.

Page Fifteen

Lovely Redhead, Lisette Verea
In Latest Rib-Tickling Marx Hit

Mat 2B—.30

Lovely Lisette Verea, Roumanian songbird, as she appears in the
current hilarious Loew-Marx Brothers’ film, “A Night in Casablanca”
at the . Theatre thru United Artists release.

Lisette Verea, the blonde enchantress whose hair was dyed red for
her dynamic role in the Marx Brothers’ newest laugh riot, “A Night
in Casablanca,” was born in Bucharest. Her father was the well-
known artist, Henry Verea, and she shared his enthusiasm for the
country and a free, roving gypsy life. Together, while she was a
child, they traveled far and wide while he painted landscapes. She
showed a preference for theatricals while she was still a school
girl and, at sixteen, made her professional stage debut in a musical
production in her native Bucharest.

In the years that followed she appeared in such successes as “The
Front Page,” “White Horse Inn” and numerous other plays and
musical comedies. She appeared on the stage in Hungary, Bulgaria,
Turkey, Italy, Syria, Egypt, Palestine, India, England and France.
Between engagements she starred in several films in Budapest.

Naturally, in time, her ambitions turned to Hollywood. The war,
however, made it difficult for her to reach America. She did manage
to reach here five years ago, by such a circuitous route that the very
thought of it now makes her grow pale and gives her a fine case of
the jitters.

In New York, this season, she has been singing in the swank night
club, Ruban Bleu. Last season she played on Broadway and on tour
in “The Merry Widow” stage revival. When in Los Angeles with
the company, she was tested by Warner Brothers but could not reach
an agreement with them.

She was in rehearsal, playing the lead in another New York musi¬
cal, when Producer David L. Loew offered her the feminine lead in
the Marx Brothers’ comedy. She secured her release and went imme¬
diately to Hollywood. Since her appearance in “A Night in Casa¬
blanca,” which opens on . at the . Theatre thru

United Artists release, every major studio in Hollywood has put in
a bid for her services.

Lisette has another interest, second to her film ambitions. She
is an artist and designer and this season some of her fabric prints are
being featured in New York’s smartest shops. And, as a hobby, she
designs all her own clothes.

This lovely new threat to Holl/wood’s outstanding glamour girls
speaks four languages, Roumanian, French, German and English.
She is five feet four and one half inches tall, weighs 118 pounds and
has blue eyes. Her birth date is October 1st.

LOIS COLLIER, who plays the romantic role
of Annette opposite Charles Drake in the current
Marx Brothers’ laugh hit, “A Night in Casa¬
blanca,” now at the . Theatre, hails

from the obscure little town of Salley in South
Carolina. She’s another small town girl who made
good with a bang in the cinema city. The win¬
ning of a radio contest brought her to Hollywood
where she appeared on many important air shows,
among them the Lux Radio Theatre. She also
appeared in both Hollywood and Los Angeles
stage plays. Film scouts took note of her talent
and she was soon playing small parts. The
part of Eileen in Irving Berlin’s “This is the
Army” earned her a film contract with Universal
and a succession of good parts culminating in
a lead with Abbott and Costello in “The Naughty
Nineties” and the ingenue role in “A Night in
Casablanca,” which David L. Loew produced for
United Artists release. Lois is five-feet-one and
weighs just under one hundred pounds; she can
eat anything and never has to worry about diets.
She is an American of Welsh-English-Irish de¬
scent, and was born on March 21, 1922. Her eyes
are grey-blue and she has reddish-brown hair.
She is married to Bob Oakley, a talent represen¬
tative, whom she met last year. She likes light
operas and popular music. Her favorite writers
are Somerset Maugham, Faith Baldwin and Louis
Bromfield. Lois claims that her current term con¬
tract with Universal and her fine role in “A
Night in Casablanca,” resulted from her ambi¬
tious work on the stage and in radio, and not
from the fact that she once was a contest-winner.

CHARLES DRAKE, ihe handsome six-fool-
three actor who plays the role of Pierre oppo¬
site Lois Collier in the fabulous new Marx
Brothers’ comedy, “A Night in Casablanca,” is
a veteran of some thirty-five pictures during his
six-year stay in Hollywood. But he is not too
proud to reminisce about the time, just seven
years ago, when he was wandering around the
streets of New York with exactly five cents in
his pocket. Fresh from college, where he had
majored in advertising, Drake recalls that he
listenedi to more “no’s” in one year than an¬
other man hears in a lifetime. Disliking the
idea of starving to death, he worked by turns
in a ten-cent store, in a department store trim¬
ming windows and with various small theatre
groups. Then, with seventy-five dollars in his
jeans, he embarked for Hollywood and more
“no’s.” He left one of his photographs with a
talent scout and hitch-hiked back to New York.
When Jesse Lasky organized a “new faces”
contest, Drake’s photograph won him a return
trip to the film capital and a contract. He has
been working steadily ever since in such films
as “Whistle Stop” and “You Came Along.”
His most important work to date is the fat role
he drew in “A Night in Casablanca,” now at tbe

.Theatre. This is a David L. Loew

production released by United Artists and star¬
ring the zany Marx Brothers.

Rough and Tumble Marx Brothers’ Jokes

By Nimble Sig Rum an

Funny stories galore center around any play¬
ers who work with the fabulous Marx Brothers,
and Sig Ruman, who plays the role of Count
Pfefferman in “A Night in Casablanca,” their
latest screen riot, can’t say he wasn’t warned.

When Sig was playing the lead in Alexander
Woollcott’s and George J. Kaufman’s “Channel
Road” on Broadway a number of years ago,
the late Towncrier said to him: “I understand
that Hollywood took notice of your success
and has designs on you. When you get there
you will no doubt run into the Marx Brothers.
If you do, you’d better look out for their rough
and tumble jokes.”

Some time later 20th Century Fox imported
Sig and, sure enough, one of his first assign¬
ments was a loan-out to the Marx Brothers
for the role of the heavy in their picture, “A
Night At The Opera.” It was then he found
out that Woollcott was right.

The Mad Marxes did plenty to Sig during
the shooting of that picture. His introduc¬
tion to Groucho was typical. Groucho looked
Sig over from head to foot and said: “So—
you’re going to be a louse! Are you a good
louse?”

Sig was floored by this haymaker. After
all, he had come to Hollywood like most Broad¬
way actors with the “I’ll show them how to
make artistic pictures” attitude, and his dig¬
nity was piqued. But before the count of ten
he reassembled what was left of his wits and
retorted: “Good louse? I hope to be the lousiest
louse you ever had the misfortune to meet up
with.”

Evidently his “louse” was satisfactory, for“A Night in Casablanca” is his third
assignment with the Marx Brothers. The film is being released by United Artists and
can currently be seen at the Theatre.

It was Sig’s role of Preysing, in the Broadway run of “Grand Hotel,” which appar¬
ently brought him to the direct attention of theatre fans. Katharine Cornell caught
him in that show and engaged him to play in her next production, “Alien Corn,” which
was followed by a tour with Ethel Barrymore in “An Amazing Career.”

After that came Hollywood and he has played in films ever since. The many
pictures in which he has appeared are too numerous to mention. Suffice it to say, the
moment Sig Ruman’s name is flashed on the screen when cast credits are given, the
audience knows instinctively that they’re going to enjoy his performance no matter
what the picture turns out to be.

Taken In Stride

Mat IE—.15

Sig Ruman plays in “A Night in
Casablanca” with the Mad Marxes.
This United Artists release is at
the.Theatre.

Mat ID—.15

(diaries Drake in “A Night in Casa¬
blanca,” the United Artists release
at the.Theatre.

Mat 1C—.15

Lois Collier in “A Night in Casa¬
blanca,” the United Artists release
at the.Theatre.

Page Sixteen

A Rogue’s Gallery of Marxes

The Marx boys
discover fabu¬
lous treasure
in their new
hit, “A Night
i n Casablan¬
ca,” now at the

.Theatre

thru United
Artists release.

Mat 2K—.30

HOW THE MAD MARXES GOT THAT WAY

Take the mad Marx Brothers, Groucho, Harpo and Chico, out of thespian character
and you’ve got a human jigsaw puzzle on your hands.

Groucho, who suggests the shrewd, outspoken and acquisitive businessman, has,
contrarily, no taste for doing anything seriously. Try to talk business with him and
he’ll toss quips at you so fast that your head swims. He’s a master diversionary
tactician and refuses to be pegged to anything serious. He boasts about his laziness,
but he’ll hop aboard a gag and explode a series of them with the speed of jet propulsion.

It is Harpo, the ninny of the performing Marxmen, who affords the most striking-
paradox. Mute on the stage and screen and a professional pixy, Harpo is the quiet,
canny and confident real life manager of the trio.

Harpo is the smart businessman, the clever politician who kept the Marxes col¬
lectively happy on the set of “A Night in Casablanca,” which they recently made in
association with Producer David L. Loew.

It was noted writer Alva Johnston, who, in biographing the Marxes and alluding
to Harpo as a youngster, said: “His inability to learn anything in school early marked
him as a genius.” Genius, he is indeed, to keep three mad brothers in harmony.

Chico is equally anomalous. Eldest of the trio, a constant worker and big-salary
earner, Chico is confessedly inept in financial matters and prone to lay all his muddled
personal matters and the brothers’ business affairs in the lap of Harpo.

Whenever the Marxes make pictures collectively, it unquestionably rests with
Harpo, master switchman of the trio, to make the decisions.

“A Night in Casablanca” is a United Artists release which opened on at

the . Theatre. It can best be described as another fabulous Marx

Brothers’ laugh riot that will have devotees of the inimitable Marx brand of provocative
humor left rolling in the aisles. It is bound to gather a whole new host of fans who
will simply not be able to resist these zany brothers in this wonderful, wacky comedy.

There Never Was a Dull Moment
For Groucho, Harpo and Chico

The Marx Brothers, according to canny Alva Johnston, noted biographer of celebri¬
ties, are efficient madmen, having taken polished nonsense and combined it happily
with the loud-noise tradition of vaudeville. Their comedy, he said, is high, low, broad,
refined, raw, old-fashioned and futuristic.

The Marxes have never challenged this merry-go-round diagnosis. In their phenomi-
nal rise, the brothers absorbed every phase of show business. They will tell you
emphatically, however, that they owe their success to the unflagging and courageous
efforts of their mother, Minna Marx.

Minna, born in Germany, was the daughter of a Hanoverian magician and his
harpist wife who for fifty years played together in the theatres of Europe. She
came to New York and married a tailor named Marx who came from Alsace. Her
brother became famous as A1 Shean of the famous Gallagher and Shean team.

Five sons were born to the Marxes. They were Chico (Leonard), Harpo (Arthur),
Groucho (Julius), Gummo (Milton) and Zeppo (Herbert). As they grew up, Mrs.
Marx set herself the task of training them for stage careers.

They begin their careers

Chico became an excellent pianist as a boy. Harpo turned to the battered harp
which had been his grandmother’s. Groucho showed singing ability and learned to
tap dance. At the age of thirteen he played a short season in Gus Edwards’ musical
school act. And, by this time, Chico had taken to touring the East, playing piano
whenever possible, while Harpo helped fill the slim family purse as a hotel bell-hop.

As the years passed Mrs. Marx continued to watch out for lucrative theatrical
employment for these talented youngsters of hers. They stuck grimly but hopefully
to their work although their pickings were lean at times and they often went hungry.
One night, when Harpo was very young, he was pushed onto the stage by his mother
with nothing to do or say. His baffled expression and hilariously funny embarrassment
caught on with the audience so well that he became a professional mute.

After the first World War, in which all the boys “played” their part, four of the
brothers, Groucho, Harpo, Chico and Zeppo, became headliners in vaudeville. Soon
afterwards they attempted legitimate musical shows, with such hits as “The Cocoanuts”
and “Animal Crackers” booming for several seasons.

They hit the screen

Their first original for the screen was “Monkey Business.” Then came “Horse
Feathers” and “Duck Soup.” At the conclusion of the latter, “The Four Marx Brothers”
became “The Marx Brothers,” with Zeppo retiring from the quartette to enter the
talent agency business in Hollywood, in which he was joined by Gummo.

Having completed five pictures for Paramount, the Marxes moved over to MGM,
where they made “A Night at the Opera” and “A Day At the Races.”

Their longest period of screen inactivity preceded David L. Loew’s production of

“A Night in Casablanca,” their current hit now to be seen at the. Theatre

thru United Artists release. This inactivity was largely a Marx election for, after
Pearl Harbor, they devoted themselves unstintingly to entertainment in service camps
and hospitals both here and abroad.

Groucho lives in Westwood with his new bride, the former Kay Gorcey. He has a
son, 21, and a daughter, 18, by a former marriage. His hobby is writing.

Harpo is married to Susan Fleming and has four youngsters ranging from nine
to one. Painting is his hobby.

Chico was married to a former dancer, Betty Karp, from whom he is now divorced.
He has a daughter, Maxine, in her twenties, who is interested in radio. His hobby
is to head his own swing band.

Mai 2J—.30

GROUCHO MARX and his cigar in“A Night in Casablanca” at the
.Theatre thru United Artists release.

IIARPO MARX gets inspired. Scenefrom “A Night in Casablanca,’’ due
soon at the.Theatre thru United Artists release.

Mat 2A—.30

CHICO MARX does some improvising in “A Night in Casablanca”
at the .Theatre thru United Artists release.

Page Seventeen

Lovely Lisette Slings A Brickbat

Here’s a bouquet for American women—and a brickbat for their menfolk!

“American women are the most beautiful in the world,” lauds Lisette Verea, the
noted Roumanian beauty and actress brought to Hollywood by Producer David L.
Loew and the Marx Brothers for their film-hit, “A Night in Casablanca,” a United

Artists release now drawing a riot of laughs at the . Theatre where it is

playing to a packed house every performance.

“But,” qualifies outspoken Lisette, they’s terribly neglected.”

Lovely Lisette, whose talents coupled with her fortune in jewels and furs have
made her an exciting and envied addition to Hollywood’s smart set, blames American
males for the coddling.

“Your men work too hard,” she says. “They think too much of money and success.

“The husband neglects his home to become a success and then salves his con¬
science by giving his wife a new fur coat. You can tell how successful he is at making
money, and how badly his conscience is hurting him by the quality of his wife’s furs.”

Lisette, who has yet to marry, says she probably will when she finds a man who
hasn’t been spoiled by his hunger for success.

Since making her American film debut in “A Night in Casablanca,” all the major
studios have been trying to get her to sign on the dotted line.

American men, you see, think she’s terrific!

Screen Beauty Models Three Chic Evening Gowns

Above: black taffeta gown
with a unique, eye-catching
jeweled strap holding up the
extreme decolletage. Left,
smooth mauve silk jersey with
jeweled dots is effectively
used for this Grecian model.

Above: Lisette Yerea, who plays
the adventuress in the Loew-Marx
Brothers’ hit, “A Night in Casa¬
blanca” at the.Theatre thru

United Artists release, models a
charming dinner frock of black and
hyacinth blue print.

Mat 3A—.45

YOU CAN’T TEMPT HARPO
TO UNBUTTON HIS LIP

Sometimes it’s smart to keep your mouth shut.

There’s one man who’s made a lot of money and ac¬
quired considerable fame by the simple device of keeping
mum. He’s Harpo Marx, curly-headed, pop-eyed member
of the Marx Brothers’ clan of theatrical fame.

Only recently Harpo, who boasts that he’s never uttered
a word on stage or screen, turned down $55,000 to say
the one word “murder” in the Marxes’ new film, “A Night
in Casablanca.” His producer, David L. Loew, estimated
that the line “Harpo Talks” would have that amount of
advertising magic.

It looked like easy money to Harpo, but it also sug¬
gested “curtains” for his theatrical career.

“Look at what happened to Garbo,” he says. “She
talked. Remember? And, incidentally, what has hap¬
pened to Garbo?”

So, unlike Garbo, Harpo refused to unzipper his lips.

Harpo has been a professional mute ever since his
vocal zipper got stuck when he was a little tike. He was
shoved onto the stage one night with a flock of other
Marxes, including Groucho and Chico, with whom he is
starring in “A Night in Casablanca,” and was so petri¬
fied with stage fright that he was speechless.

The audience fell so solidly for the curly-haired, bash¬
ful kid that from that night on he was part of the act.
He’s been a blushing pantomimist ever since, providing a
wistful foil for Groucho, the incorrigible extrovert, and
Chico, the “loquacious wop.”

Harpo is also musically talented, although self-taught.
His choice of the harp, too, was the result of an accident.
He found his grandmother’s harp tucked away in the
attic and began tinkering with it. His artistry has since
been lauded by the musical elite internationally.

“A Night in Casablanca” can be seen this week at the
. Theatre. It is a United Artists release.

/ A

Werner Janssen Scores

Werner Janssen, noted symphony conductor, had charge
of the musical scoring of the current Marx Brothers* com¬
edy, “A Night in Casablanca,” which was produced by them
in collaboration with David L. Loew.

Janssen employed his own noted musical organization,
the Janssen Symphony of Los Angeles, in recording the
musical background and interludes in the film.

“A Night in Casablanca” bows in on . at the

. Theatre. It is being released by United Artists.

Lisette Wears Her Own Lovely Jewels

And Gowns in Current Marx Comedy

The role of adventuress in
the Marx Brothers’ current
laugh riot, “A Night in Casa¬
blanca,” affords Miss Lisette
Verea, the Roumanian song¬
stress, an opportunity to
wear some elaborate and
daring gowns.

With the exception of a
traveling outfit and one sim¬
ple street dress which the
studio furnished, Miss Verea
preferred to wear her own
gowns and hats. Assisted by
Fay Moore, the' wardrobe
mistress, and under the scru¬
tinizing eye of Director Ar¬
chie Mayo, Miss Verea se¬
lected from the unlimited
wardrobe she brought from
New York lovely gowns suit¬
able for the night club se¬
quences, and negligees for
the boudoir scenes.

When Producer David L. Loew saw them, he wondered why
Miss Verea had not been mentioned on the list publicizing the ten
best-dressed women in America.

Miss Verea’s priceless collection of diamonds and emeralds,
which has all Hollywood gasping, are also worn by her in the film.
Mr. Loew took out $75,000 worth of insurance on the jewels during
the production.

United Artists, is releasing “A Night in Casablanca,” which
bows in on . at the. Theatre.

Mat 1H—.15

Lisette Verea, who plays with the
zany Marx Brothers in “A Night

in Casablanca” at the.

Theatre thru United Artists, deftly
applies lipstick with a brush.

CENTER SPREAD

Get ’em at your local
National Screen
Exchange!

Page Eighteen

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14 Lobby Display

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Window Card. *

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14 x 36 Insert Card

22 x 28 Lobby Displays

CHARLES DRAKE LOIS COLLIER

;jUSETTE versa • SIG RUMAN • DAN SEYMOUR ■ LEWIS RUSSELL

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Kr««ed bv ARCHIE MAYO

One Sheet

Six Sheet

Twenty-Four Sheet

Order all accessories
through your local
National Screen Exchange

Three Sheet

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Center for Film and Theater Research.

Digitization and post-production completed in the University
of Wisconsin-Madison's Department of Communication Arts,
with funding from the Mary Pickford Foundation.

www.marypickford.org

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