Slapsticon — Friday
First program — Early shorts
MEDIUM WANTED AS SON-IN-LAW (Pathe short with no credits, France, 1908, 6) — It’s amazing to see a film from this early in color — hand-tinted and well-preserved — but combined with acting and gag styles of 19th-century vaudeville undiluted. One-reeler but follows through on title’s funny premise.
MISS STICKIE-MOUFIE-KISS (Mr. and Mrs. Sidney Drew, 1915, 9) — I don’t expect to see a better film here. Amazingly funny for a film whose central premise involves a woman who talks like Tweety-Bird (i.e. in title cards, without the sound). She gets progressively more infantile, to the increasingly desperate exasperation of her betrothed. One amazing thing in retrospect is that Mrs. Drew, whatever the title cards say, doesn’t *act* significantly different from other actresses in roles of this sort from that period, which implies all kinds of possible underground satire and “taking the piss out of the rom-com” (like Alain Resnais WILD GRASS). The Drews are the greatest comedy team nobody has heard of. Cinema-wise at least, they’re the inventors of the domestic sitcom (you can see antecedents of e.g., Rob and Laura Petrie — two funny but different characters in a single union, each perfectly capable of carrying the comic load) and with plenty of tartness (particularly here). The Drews are a consistent highlight here for me, though apparently only about 12-15 of their shorts survive.
CRUEL AND UNUSUAL (Harry Watson [Musty Suffer], 1915, 6) — The first reel (on a golf course) is crap that WC Fields rejected; but the second reel (central character gets treated at a quack’s violent gym) is inspired theater of cruelty. Anyone who think sick, violent humor is a product of today — needs to get out some. The very character name “Musty Suffer” tells you the answer is “yes.”
POOR POLICY (Henry Lehrman / Billie Ritchie, 1915, 3) — I laugh at a movie in inverse proportion to how often the characters look at camera rub their hands, make some gestures to us, and laugh at themselves and their genius plans. ergo … And I’ve never cottoned to Billy Ritchie’s screen character, a very poor Chaplin knockoff with none of the Tramp’s graceful movement and subtle gesture comedy.
THE FEUDISTS (Wilfred North / John Bunny, 1913, 4) — I take it on faith that John Bunny was biggest pre-Chaplin comic star. I can’t see why, as he just seems like a big fat rich guy without much character and little physical acumen (and not because guys of his build couldn’t have that — see Oliver Hardy and especially Ton of Fun). It has the plot premise of a feature (Romeo & Juliet as a comedy), but only one reel, so nothing really develops
GOOD NIGHT, NURSE (Horace Davey, 1916, 2) — A one-joke one-reeler badly done, with nothing beyond promising premise (guy meets hot nurse, fakes injury to get treated by her, plan doesn’t work). The flatly undifferentiated performers mug too much to the camera and not enough to each other.
SAMMY SCANDALOUS SCHEME (Gilbert Hamilton / Sammy Burns, 1915, 6) — I was enjoying this 2-reel short, about a guy whose girl loves Charlie Chaplin more than she does him, and he decides to take revenge by dressing up as Charlie. As an early take on celebrity-worship and parody not only of Chaplin but of all the imitators already around by 1915. The set up is very good, but it ended right when we see Burns gets into a Chaplin costume, but before he goes over to pretend to the girl. I later confirmed with Steve Massa that the last 5 minutes are lost — maybe it’ll be hiding in a Norwegian insane asylum or an Argentine film club.
HAM AT THE GARBAGE GENTLEMAN’S BALL (Chance Ward, Ham and Bud, 1915, 4) — There is one funny bit — in which a guy falls three stories, and gets up in the same shot. It’s in a sufficiently long shot that you know it’s not one of the stars and there’s obviously some kind of trick, but because there’s no cut, you find yourself giggling with wonder at “how?” The rest is pointless uncreative knockabout by a not terribly funny Mutt-and-Jeff team — two lumpenproletarians trying to one-up each other.
LIZZIE’S DIZZY CAREER (Victoria Forde and Eddie Lyons / Al Christie produced, 1915, 5) — Chick hick flick — good-enough opera singer for Tulsa decides to go to Milan and show La Scala (not exactly; but that’s the comparable idea). Amusing but not really memorable. Best bit involves some tobacco juice and is cliche, but — so. perfectly. timed.
LOVABLE LIARS (no credits, early 20s Cineart short, 8) It’s a one-joke one-reeler – man and a woman can’t tell a lie because they’re in a hotel room George Washington slept in. But within those limits, it’s as brilliantly developed and shaded off that one joke as any single reel of Chaplin or Lloyd. LOVABLE LIARS is one of those mystery uncredited films that MAKE this festival
Second program — Kids and Animals (usually not a highlight for me, but there was some good stuff)
LADIES PETS (CL Chester / Snooky the Humanzee, 1921, 3) — Apparently this was only shown under intense pressure from people whose taste leaves something to be desired. It’s not funny to see a chimp do something unless it’d be funny to see a man do it, or is so bizarre that THAT becomes the joke.
THE KNOCKOUT (Len Powers / Dippy-Doo-Dads, 1923, 7) — However, seeing an assortment of animals spoofing an existing genre (the fight film here) IS funny — a dog plays a drunk next to the arena always having “one more round” (and not of fighting), and ducks and chickens being escorted to “their” part of the arena were the biggest laughs.
BUSTER’S PICNIC (Gus Meins / Buster Brown, 1927, 6) — I don’t get the appeal of this kid character — too sweet and clean-scrubbed, the kind of wholesome family material that hasn’t improved in 80 years. But thankfully, this movie mostly follows Our Gang’s Pete the Pup, who has way more charisma and smarts than Arthur Trimble does.
THE SMILE WINS (Robert McGowan / Our Gang, 1928, 7) — it’s as if Dickens had done an Our Gang short, centering on Farina’s poor home life a sick mom, an evil landlord, an oilfield *next door* (really) and taunting kids. Shown with French intertitles (apparently it’s what available; but easy enough to figure out). The devices and the slapstick are there too — very entertaining. At one point when the Gang strike oil and the manager of the oilfield *next door * (really) comes over to complain that they’ve hit the pipeline, it was all I could do not to yell out “you’re drinking my milkshake!!!”
Random Tweet I made after watching one of the discs being shown on TV in the lobby: “How you can tell it’s a Weiss brothers film. If a kid throws a pillow at his dad — someone else; if a kid stuffs a wrench into the pillow and throws it — Weiss.
Third program — Hall Roach shorts (always a favorite program of mine)
PECULIAR PATIENTS PRANKS (Hal Roach / Harold Lloyd as Lonesome Luke, 1915, 5) You can see why Lloyd developed the “Glasses” character, as Luke just isn’t very funny — a typical joke in this hospital-set short, one of the few surviving Lonesome Luke shorts, involves battering an immobilized patient’s leg cast. But the last bits had me howling at their political-incorrectness — it’s basically a date-rape joke. Sheer taboo-busting, even if it wasn’t a taboo when it was made, can always make for big laughs.
PARDON ME (Ralph Cedar / Snub Pollard, 1921, 7) — It ends too abruptly, but it crackles with funny bits as Snub tries to win the hand of the governor’s daughter while trying to get into jail as part of a scam. Best bit involves a diegetic reference to the film’s title.
SHOOT STRAIGHT (Jay Howe / Paul Parrott, 1923, 5) — Charley Chase’s brother is a bad hunter. Not much else.
CUCKOO LOVE (Fred Guiol / Glenn Tryon, 1925, 5) — I expected to like this one more than I did, with one of Roach’s all-star casts in romantic mixups like French boudoir farce. But it didn’t build much, and Tryon is an indistinct pretty magazine-cover boy
FALLEN ARCHES (Gus Meins / Charley Chase, 1931, 7) — Chase is one of the few comedians just as good on either side of sound barrier. Wonder if a late sequence involving a deep puddle inspired Clouzot for THE WAGES OF FEAR?
TAXI BARONS (Del Lord / Taxi Boys, 1933, 4) — It’s not terribly funny, as the sound Taxi Boys films don’t have all the amazing and weird car stunts that the silent ones do (perhaps realistic sounds of cars crashing into one another and/or running their engines would have killed the comedy, like Harold Lloyd yells killed FEET FIRST, a virtual remake of his silent classic SAFETY LAST). This is more like a poor man’s Laurel and Hardy mixup-ID plot, in which the team happen to be employed as taxi drivers.. But I don’t get the hatin’ on Billy Blue — he not aggravating, just inert.
The fourth program was of Rob Stone rarities, the best of which was incomplete or unknown stuff, which I don’t feel comfortable grading. The Pokes & Jabs short STRICTLY BUSINESS was incoherent in its setup (because of missing footage, I suspect), but once it became clearly about a man’s attempt to get into an economist’s office to sell him a book, it became, like many films about obsessions, weirdly entertaining in a can-u-top-THIS mode. Rob also showed reels from two unknown Jimmie Adams comedies, the first of which felt like a 2nd reel, and the second felt like a 1st reel. The first Adams film was stolen by 2 cops from whom Adams is trying to hide, who are the kind of hyper-parodic mannered manic comic delight that critics think Jean-Luc Godard was making. They were “playing” “cop” as if in a kind of musical parody of cops (COP ROCK?), walking down the street in lockstep and then dancing around each other’s movements to turn a corner, with every gesture from each commenting on or matching a gesture from the other. Huge laughs all around. But unquestionably the program’s highlight, and one of the best in the fest, both for myself and nearly everyone else I spoke to, was the second reel of WHEN KNIGHTS WERE COLD, a Stan Laurel parody of Douglas Fairbanks Sr. swashbucklers. If the first reel (which is gone) were as good as the second we saw, this film would rate a 9 — people were howling at a plant and some of the deliberate anachronisms (a firing squad of crossbows lined up like a rifle team), you can see Laurel’s style influence on Benny Hill, Marty Feldman and other British descendants of the music-hall tradition. Laurel parodies may be silent era’s greatest hidden treasures.
Fifth program, evening feature
POP TUTTLE’S MOVIE QUEEN (Paul Gerson / Pop Tuttle, 1922, 6) – Amazing facts you learn by actually WATCHING the general run of silents, part 367272: As early as 1922, you could make comic film centered on moviegoing itself (and parody the star-making system with a bit of outright fraud), and hold the Temperance movement in contempt at Prohibition’s height. Pop Tuttle doesn’t have much of a reputation, but he seems like a funny “crabby old grandp” type like Andy Clyde only better (or Max Davidson, only not as good)
THE ROUNDUP (George Melford / Fatty Arbuckle, 1920, 7) — It’s not as weird a program choice as may seem, with Fatty as an ensemble lead attempting a more-or-less straight Western. There is comedy involving Fatty — most memorably trying to dress himself — but only about as much as there is in a John Ford western, usually involving Victor McLaglen. It’s a good “primitive”-period Western. Paul Gierucki and I spent a few head-scratching minutes figuring out what kind of Western it was (it clearly wasn’t Ford, Hawks, Peckinpah, Boetticher, Walsh or any of the acknowledged masters) before deciding on Roy Rogers minus the songs. There is, however, an extremely bitter ending, with a title card that seems in retrospect almost prophetic: “nobody loves a fat man.”
Sixth and seventh programs, features with Edward Everett Horton and Charley Chase
Seeing an Edward Everett Horton 1928 silent short (HORSE SHY, 6) followed by a 1930 talking feature (WIDE OPEN, 3) and it’s easy to see why talkies were thought to be the death of cinema in the late-20s/early 30s. Among other things, EEH is only convincingly hetero if he don’t speak. The graceful (or bumbling) physical comedy just either become impossible or too difficult to try in the early 1930s. Seeing a Charley Chase 1929 half-talkie (MODERN LOVE – 6, but really silent part 8 and talking part 4) and it’s easy again to see why people thought, etc. Rare in that the first few reels are silent and then the whole rest of the film is a talkie, with the film never reverting back to silent or weaving sound and silent throughout. As a result, it really feels pasted together, rather than using the mix for a purpose (like sound for Jolson’s songs). Charley eventually became a good talking comedian, but his character hadn’t developed an effective way with words yet, and was burdened here with the period’s typical clunky staging and fairly witless dialog. But the first two or three reels are cherce.
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