diamonds, never realizing their true value. Grunion interrupts his story to take a phone call from his wife, who turns out to be the former Madame Egelichi. Cast Harpo Marx as Harpo Chico Marx as Faustino the Great Groucho Marx as Detective Sam Grunion Vera-Ellen as Maggie Phillips Ilona Massey as Madame Egelichi Paul Valentine as Mike Johnson Marion Hutton as Bunny Dolan Leon Belasco as Mr. Lyons Melville Cooper as Lefty Throckmorton Raymond Burr as Alphonse Zoto Bruce Gordon as Hannibal Zoto Eric Blore as Mackinaw Marilyn Monroe as Grunion's Client Otto Waldis as Ivan (uncredited) Musical numbers The film has a musical score and lyrics by Ann Ronell, with a lively film noirish dance version of a Sadie Thompson number. The piece feature's Vera-Ellen and former ballet dancer Paul Valentine as one of the United States Marines on a South Pacific Island. Chico plays a duet on "Gypsy Love Song" with actor-musician Leon Belasco as Mr. Lyons, the owner of the stage props and costumes. Belasco, on violin, starts playing many fancy trills until Chico says, "Look, Mista Lyons, I know you wanna make a good impression – but please, don't play better than me!" Chico played this same tune in the Marx Bros. first film The Cocoanuts 20 years earlier, in 1929. Songs Production Love Happy was originally conceived as a solo vehicle for Harpo under the title Diamonds in the Sidewalk, Chico, who was usually in need of money due to his lifelong gambling addiction, also became involved in the project. Once Chico was in, financing for the film couldn't be obtained unless all three Marx Brothers were featured, so Groucho agreed to appear in the film. Love Happy was the final film to be produced by Mary Pickford. Groucho appears in the film without his usual greasepaint moustache and eyebrows; by this point in his career, he had grown an actual mustache and no longer saw the greasepaint as necessary. He briefly shares the screen with Harpo (the three never appear together in the same scene) during the climax of the film and mainly provides an encompassing narration to explain things when the necessary sequences for a coherent narrative were unavailable. Groucho avoided mentioning the film at all in his autobiography, Groucho and Me published in 1959, apparently at that time considering A Night in Casablanca (1946) as their last film together. He did acknowledge