next feature film, Monkey Business, in the film's score and by Harpo on the harp. He's One of Those Men (Hives and Footmen) I Represent the Captain (Zeppo) Hooray for Captain Spaulding Part I (The Cast) Hello, I Must Be Going (Groucho) Hooray for Captain Spaulding Part II (Cast) Why Am I So Romantic? (Arabella and John, and as a harp interlude with Harpo) I'm Daffy over You (Chico; the refrain is sometimes confused with the 1950s song "Sugar in the Morning") Silver Threads Among the Gold (Chico) Brief piano interlude (Harpo) Gypsy-chorus (a.k.a. Anvil Chorus) (Chico) My Old Kentucky Home (Marx Brothers) Releases The original 1930 film release ran 99 minutes. In 1936, the film was reissued with several small cuts to accommodate the Production Code. This version ran about 98 minutes. In December 1973, UCLA student and Marx Brothers fan Steve Stoliar drove to Anaheim, California, to view a rare screening of Animal Crackers at the Old Town Music Hall theater. The print shown there was old and of poor quality, probably because the film had not been distributed for theatrical release since the early 1950s. Paramount Pictures had allowed its licenses to expire, and rights had reverted to the authors of the Broadway stage play: the playwrights George S. Kaufman and Morrie Ryskind, the composer Harry Ruby, and the lyricist Bert Kalmar. Although MCA/Universal had acquired most of Paramount's pre-1950 sound feature film library in 1958, Animal Crackers evidently was regarded as a legal mess best left untouched. Stoliar impulsively contacted Groucho Marx to enlist Groucho's support for an unlikely campaign to attempt to persuade – or pressure – Universal to re-release the film. Groucho agreed to appear at the UCLA campus for a publicity event. On February 7, 1974, Groucho and his assistant, Erin Fleming, visited UCLA under the aegis of Stoliar's newly formed "Committee for the Re-release of Animal Crackers" (CRAC). The event drew around 200 students, over 2,000 signatures on re-release petitions, and several reporters. Universal scrambled to appear responsive: a spokesman told a UCLA Daily Bruin reporter that the studio was "delighted" by the interest, and that "we have negotiated with the heirs of the writers (Morrie Ryskind and George S. Kaufman), but they were asking much more than we wanted to spend. Just recently we reached an agreement, and we're waiting to sign the contracts." (Not quite: Ryskind was still in the