Surrealism is threatening, however, and it is interesting to note that when the Marxes moved to MGM, who were after bigger audiences and more accessible comedy, Harpo’s “magic powers” were scaled back. So while in Horse Feathers (Paramount, 1932), he accedes to the request to “cut the cards” by producing an axe from a hidden pocket and severing the pack in two, by the time of A Night At The Opera (MGM, 1935), although he still uses an axe to slice a salami, now it is lying handily on a barrel instead of being secreted mysteriously about his person.

Tom Salinsky on his blog.

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