Silent Film of the Month: Tillie's Punctured Romance (1914)

 

Run Time: 82 minutes. Studio: Keystone. Director: Mack Sennett. Writer: Hampton Del Ruth. Based off of the stage play Tillie's Nightmare by Edgar Smith and A. Baldwin Sloane. Producer: Mack Sennett. Cast: Marie Dressler, Charlie Chaplin, Mabel Normand, Mack Swain, Charles Bennett, Douglas Banks, Chester Conklin, Edgar Kennedy, Charles Parrott, Glen Cavender, Harry McCoy, Phyllis Allen, Gordon Griffith, Rube Miller, Billie Bennett, Frank Opperman, Nick Cogley, Fritz Shade, Morgan Wallace, Charlie Murray, Minta Durfee, Hampton Del Ruth, Hugh Saxon, Fred Fishback, Ted Edwards, Hank Mann, George "Slim" Summervillie, Al St. John, Edwin Frazee, Bill Hauber, Dan Albert, Billy Gilbert, Robert Kerr, Alice Howell, Eva Nelson, Dixie Chene, Wallace McDonald, Alice Davenport, Eddie Nolan, Grover Ligon, Josef Swickward, Frankie Dolan, Dick Smith, Meiklejohn and Hazel Allen, Helen Carruthers. 

Often referred to as the first feature length comedy, Tillie's Punctured Romance is far from an obscure film. Yet at the same time, I often feel that it gets too overlooked. Many tend to just view it as a footnote in film history. Even with Charlie Chaplin in it, dedicated Chaplin fans tend to not discuss this movie and instead prefer to look at Chaplin's later features that he directed and wrote. This may not be on the same level as such masterpieces as The Gold Rush (1925) or City Lights (1931). However, it is a comedy that is over a century old and is still quite entertaining. That definitely accounts for something.

In this film, a con man (Charlie Chaplin) from the city tricks a naïve country woman (Marie Dressler) to flee to the city with him. As soon as the con man gets her money, he leaves her flat. When he discovers that the woman is heir to a large fortune, he comes back to her having had "a change of heart."

The storyline for this film is pure melodramatic hokum. This is not by accident nor is this lazy writing. From its very start the Keystone studio made short films that were parodies of melodramas, using these familiar storylines that were often taken seriously and use them as an excuse for slapstick comedy. It is no wonder that the studio's first feature length movie would also parody melodramas. Adapting the stage play Tillie's Nightmare was a perfect idea for the studio's first feature length movie as the stage play didn't take these melodramatic conventions very serious either. 

For fans of silent comedy, this movie is a delight. Of course, one of the treats is to see so many silent comedy greats in one film. Cinephiles can have a great time seeing just how many silent comedy stars, they can catch and name. Another delight is to see Charlie Chaplin play against type. He is wonderful as the villainous conman here. His performance is a bit more over the top than he often is as his famous Tramp character. However, this is just what the movie calls for, and he does a great job. He commands the screen every time he appears. 

While most of the gags here may not be as laugh out loud funny as some later silent comedies, many of them do get some good chuckles and there is a great sense of comic momentum that lasts through the whole movie. Many of these gags may be simplistic and crude but they are delivered with such dedication, and zest that they actually work. There is such a lighthearted playful spirit here, that even when you don't laugh at a gag, you still enjoy it. The comedic highlight however is the whole climatic chase with the Keystone Kops getting involved. This chase is silent comedy making as its finest. There are so many slapstick gags in this finale and many of them are quite funny and creative. This climatic scene alone would make this movie essential watching for silent comedy fans. 

Another creative and charming scene involves Charlie Chaplin and Mabel Normand's characters sitting in a movie theater watching a film that greatly resembles what has been happening in their lives. This scene is not especially funny, but it is still delightful. I have always been a sucker for a well-used film in a film, and this is an early example of just that. Not only is the film in a film quite entertaining in its own right but it is a delightfully fun and creative way to express what is going on the characters' minds.  For cinephiles, it is also a delight to get a glimpse into what the movie going experience was like in the 1910's.

The play, Tillie's Nightmare, itself was very popular. At the Herald Square Theatre (1331 Broadway (29 W. 35th St.), New York, NY), it ran from May 05, 1910, to Jul 09, 1910. At the Manhattan Opera House (30 Lincoln Center Plaza, New York, NY) (now Manhattan Center), it ran from Dec 18, 1911, to Dec 23, 1911.  Director, producer and studio head, Mack Sennett stated in his autobiography, King of Comedy, that scenario editor Craig Hutchinson had suggested to make an adaption of the play. The play was a musical, well-known at the time for the song Heaven Help the Working Girl, and naturally a lot had to be changed from stage to screen. Sennett recalled that Hampton Del Ruth and a team of other writers used only the play's story as a loose guideline.     

The star of stage play was Marie Dressler. Dressler was a very popular stage actress, and Tillie's Nightmare had been her greatest stage success. Mack Sennett mostly planned to fill the movie's cast with Keystone regulars, but he did want Dressler to reprise her role on screen. This had not been Sennett's first interaction with Dressler. When Sennett was a young novice in the entertainment industry, Dressler had helped the young man. She wrote him a letter of introduction to David Belasco (a popular theatre producer and playwright). Later Sennett would claim that Dressler moved to California to make this movie. Dressler however denied such claims, stating that she moved to California because of her nerves after a recent failure in her stage career.  

Sennett would meet Marie Dressler outside a movie theater. They agreed to meet a hotel to discuss the film project. During the hotel meeting Marie Dressler agreed to work for $2,500 a week (for comparison Charlie Chaplin was being paid $200 a week). During this meeting there seemed to be a verbal agreement that Dressler would own half the film and her husband, James Dalton, would distribute it. This is not how things worked out. Though Sennett was in charge of the studio's production, the Keystone company was actually created and owned by Adam Kessel and Charles Bauman from the New York Film Company. Kessel and Bauman would sell the distribution rights to the Alco Film Corporation. Because of this, Dressler took legal action against the Keystone Studio, but this was ultimately unsuccessful. 

Filming began in late April 1914 and wrapped up late July of the same year. There would be some delays in filming. Of these delays Glenn Mitchell writes in The Chaplin Encyclopedia, "The main difficulty lay in Miss Dressler's memory of him [Sennett] as an unknown, rather than as the boss of a studio, and consequent unwillingness to take direction until baffled by the techniques of filmmaking." 

Much of this movie was filmed on location in Hollywood. Anyone has been to Hollywood recently will find it unrecognizable watching this film. At the time, Hollywood was not the major city that it is today. However certain buildings can still be seen today. 

One of these is The C.E. Toberman Building (6410-6146, Hollywood Boulevard), which can be seen when two cops meet Tillie in the middle of the street after Tillie gets drunk as well as when Charlie falls in the middle of the street and Tillie picks him up. The same building can be seen in the classic Harold Lloyd feature, Why Worry (1923), when Harold announces to his giant friend that he is going to be a father. A shot of the back of this building can be seen in Buster Keaton's classic comedy short, The Goat (1921). 

When Tillie waves to a cop flirtatiously, she is standing on the porch of the Hollywood Hotel. This hotel was located on the northwest corner of Hollywood and Highland. At one time this hotel was a center for the social life in Hollywood. However, it would be demolished in 1956. There today is the Hollywood & Highland Retail and Entertainment Center. 

 When two cops are escorting a drunk Tillie into the police station, they are actually taking her to the entrance door for the Keystone Studio. This was also used as an entrance to a police station in the Roscoe "Fatty" Arbuckle short, Fatty's Plucky Pup (1915). It even appeared as the entrance to a dentist's office in the Charlie Chaplin short, Laughing Gas (1914). 

When Tillie flirts with a cop after being released from jail, she is on Duane Street by the back corner of the wall for the Selig studio (the first permeant movie studio in Los Angeles). You can also see two homes in these shots. The homes were 2212 and 2216 Duane Street, both of which are now apartment buildings. 

The entrance to Tillie's wealthy uncle's place is Castle Sans Souci, which had formerly been located at 1901 Argyle. It was torn down in 1928 and the Castle Argyle Apartments, which are still standing today. 

During the climax, you can see in the background the original Los Angeles Fire Engine Co. No. 20, which was located at 2144 Sunset. You can also see this in the background of the Charlie Chaplin short, Cruel, Cruel Love (1914). 

Comedian Milton Berle often times claimed to be a newsboy in a brief scene. This has been greatly disputed with many historians crediting the role to child actor Gordon Griffith. Later Griffith approached Charlie Chaplin and described the scene he claimed they made together, while Chaplin was filming A Countess from Hong Kong (1968). Chaplin just unenthusiastically stated, "oh I see ... exposition" and then went back to work. 

Moving Picture World, 1915

Moving Picture World, 1915

This film was reissued to theaters in 1920. The following is an article about this reissue from an issue of The Moving Picture World (dated January 17, 1920).

"From W.H. Productions comes information that 'Tillie's Punctured Romance' is being revived by Tower Film Corporation. This Mack Sennett favorite, featuring Charlie Chaplin, Marie Dressler, Mabel Normand, Mack Swain and Chester Conklin, has a great reputation to be revived with the showings. 

"It early accomplished what the 'glooms' argued couldn't be done - that the screen could make people laugh. Yet thousands laughed at 'Tillie's Punctured Romance.' This production mad history for screen comedy and records for exhibitors and exchange men.

"A special exploitation campaign, unique in character and destined to put the picture over in an even bigger way than heretofore is being planned. This will include new advertising material of every description, new posters, lobby photos and displays. 

"'Tillie's Punctured Romance' is one of the pictures which serves as sort of a high watermark in box office receipts by which others are measured. 'As big a winner as 'Tillie'' or 'as good as 'Tillie,'' are expressions of motion picture exchange men and exhibitors. Seldom does the independent market get unusual money makers, and when they do, they are not soon forgotten. 

"A special exploitation and press sheet is now being prepared for 'Tillie,' containing copies of newspaper cuts, special advertisements, press stories, catch phrases, exploitation ideas, suggestions and special 'stunts.' Every aid that can be given to the exhibitor to put this picture over as provided."

 

Moving Picture World, 1920

The movie was so popular that it spawned three sequels Tillie's Tomato Surprise (1915), Tillie Wakes Up (1917), and The Scrub Lady (1917), all of which featured Dressler reprising her role. The film would also be remade in 1928 with the same title. That remake would star Louise Fazenda, W.C. Feilds and Chester Conklin. Unfortunately, that remake is considered lost. 

You can watch this movie on YouTube below. 

Resources Used

The Chaplin Encyclopedia by Glenn Mitchell.  

A-Z of Silent Film Comedy by Glenn Mitchell

Chase! A Tribute to the Keystone Cops edited by Lon and Debra Davis

https://silentlocations.com/2012/12/27/front-and-back-cameos-100-years-of-a-hollywood-landmark/

IBDB | The Official Source For Broadway Information

https://lantern.mediahist.org/

Mack Sennett: He Speculates in Comedy Thunder

 There are names that anyone familiar with silent comedy knows. Along with Charlie Chaplin, Buster Keaton, Harold Lloyd, Stan Laurel and Oliver Hardy, this definitely includes Mack Sennett. The legendary comedy producer not only brought us the likes of the Keystone Kops and the Mack Sennett Bathing Beauties, but he also produced the earliest films of Charlie Chaplin, Roscoe "Fatty" Arbuckle, Mabel Normand and Harry Langdon. If it wasn't for him, film comedy probably would have never evolved thew way it did. 

The following is a 1916 article about Mack Sennett from Moving Picture Classic. If you have any trouble reading it click on the pages below and use your touch screen to zoom in. If you don't have a touch screen, click here.

The following comedy short, The Feathered Nest (1916), was produced by Mack Sennett and released the same year that article above was published. 

Now for a true masterpiece. This is a wonderful talkie short produced by Mack Sennett and starring the comedy legend W.C. Fields. Enjoy The Fatal Glass of Beer (1933). 

 

How the Keystone Kops Happened

 Have you ever wondered just "How the Keystone Kops Happened?" Well, you might want to keep wondering as there is probably not a whole lot of truth to the following article. If you have read the book, CHASE! A Tribute to the Keystone Cops (which is an essential read for any silent comedy fan), you know that the exact origin of the Kops is not very easy to pinpoint and is definitely more complex than is presented here. That the author of this article was in charge of publicity for the Keystone Studio casts an even greater sense of doubt over this article as this is obviously the story that Mack Sennett (the head of the Keystone Studio) wanted you to read. Still this is a very entertaining and fun read that should delight fans of silent comedy. 

This following article is from an issue of Motion Picture Classic dated June 1926. If you have any trouble reading, click on the pages below and use your touch screen to zoom in. If you don't have a touch screen, click here. 

Here is a delightful film featuring the Kops, A Hash House Fraud (1915).

How Mack Sennett Picks His Bathing Beauties

Other than the Keystone Cops, Mack Sennett's Bathing Beauties are the most famous staple of the silent comedies produced by Mack Sennett. Sex sells is not a recent idea and more than 100 years ago, filmmakers knew that nothing would get audiences' (especially male audiences') attention as much as beautiful women. Mack Sennett took this idea even farther. When it came to his filmmaking style Mack Sennett certainly believed that more was more. This was not only true when it came to his unsubtle brand of slapstick humor but also to how many beautiful women, he would have onscreen. If one beautiful woman in a bathing suit would capture someone's attention, then multiple women in bathing suits would do so even further. Thus, was born Mack Sennett's bathing beauties. 

If you are wondering how Mack Sennett picked his bathing beauties than look no further. Such is explained in the following article from a 1923 issue of Screenland magazine. If you have any trouble reading the pages below click on them and use your touch screen to zoom in. 

Here is a MAck Sennett produced short featuring the Bathing Beauties, Heroic Ambrose (1919).

Hello Mabel Normand

 I am sure at least some of you reading this blog have a familiarity with Mabel Normand. She is often times considered the best female comedian of the silent era and many of her films are still very entertaining today. She has even been referred to as the female Chaplin (her and Charlie Chaplin even worked together in a few films). 

Here is a 1921 article from Photoplay magazine about the great comedian. If you have any trouble reading the following pages, click on them and use your touch screen to zoom in. If you don't have a touch screen click here. 

Now enjoy a classic silent comedy short starring and co-directed (with Mack Sennett) by Mabel Normand, Mabel at the Wheel (1914). This film also features Charlie Chaplin in a villainous role that differs greatly from the little tramp. 

The following is a review of Mabel at the Wheel from Motion Picture News Magazine.

"'Mabel at the Wheel.' (Keystone. Two Reels, April 18) - This is an excellent burlesque on the 1914 Grand Prix automobile race. It is a laugh from start to finish. The last reel, taken up with the race, is well produced; some of the scenes make the spectator firmly grasp for breath, notwithstanding that it is a burlesque all the way through.

"The outline of the story: the villain after many attempts succeeds in capturing the hero, who is to run in the race, and tying him up so that he can't start. 

"Mabel the fond sweetheart of the hero, rises to the occasion and runs the car herself. The villain tries in many ways to wreck her and the car. Throwing bombs on the track and wetting it are two of his fiendish plots. But his efforts were to no avail, and the girl wins the race amid great rejoicing."







    

Motion Picture News, 1917

Let us end this post with another high-speed silent comedy starring Mabel Normand, The Speed Kings (1913). 

  

Happy National Silent Movie Day

 Hello everybody. It is once again that wonderful holiday, National Silent Movie Day. 

Let us start this holiday themed post with the most famous name in silent movies, Charlie Chaplin. 

Charlie Chaplin is considered to be one of the big four of the silent film comedians. The other three are considered Buster Keaton, Harold Lloyd and Harry Langdon. 

Of course there are other great silent movie comedians including Mabel Normand, Roscoe "Fatty" Arbuckle, Laurel and Hardy and of course the Keystone Cops. 

Of course there were some great dramatic filmmakers during the silent era such as D.W. Griffith, Lois Webber and F.W. Murnau. 

I am a big fan of J.B. Kaufman and Russell Merritt's book, Walt in Wonderland: The Silent Films of Walt Disney. 

Now for some of Walt Disney's silent films themselves. 

Of course I am an avid watcher of TCM's Silent Sunday Night. 

My favorite place to watch silent movies is Old Town Music Hall in El Segundo, California, where all silent films are accompanied by the Mighty Wurlitzer Pipe organ. 

 

Howdy Doody and a Smith Named Bob

 Though I am too young to have grown up with the old kiddie TV shows, the fact that they introduced a whole generation of movie lovers to silent comedies and classic cartoons endears them to me in a way. Along with all the fun with popular puppet characters, a mute clown and more, Howdy Doody (one of the most popular of these shows often showed clips of various silent comedies. These comedies included those from silent comedy producers Mack Sennett, Joe Rock and Al and Charles Christie as well as some from Educational Pictures and elsewhere. Harry Langdon, Mickey McGuire (a series of comedy shorts starring Mickey Rooney). The Smith Family (a silent series from the Sennett studio) are among some of the silent comedy shorts that appeared on the show. 

The following is a short 1948 article from Radio and Television Mirror about Howdy Doody. If you have trouble reading it click on the pages below and use your touch screen to zoom in. If you don't have touch screen, click here.

Here is an episode of the show dated March 8, 1949 and featuring a silent Mickey McGuire. 

Exposing Andy Clyde

It is a shame that the name Andy Clyde is often only recognized by the staunchest film buffs. His movie career spanned over 3 decades and after that he continued to work on TV. In the silent era, he had been comedy producer Mack Sennett's "Man of a Thousand Faces" often appearing in different costumes and make up that make him almost unrecognizable. Because of this he often appeared in multiple roles in the same film. He eventually found himself playing an old man character that he would continue playing well into the talkie era. Mostly playing this character Andy made 79 comedy shorts for Columbia Pictures. Fans of B-Westerns make best recognize him for playing the character California Carlson in the Hopalong Cassidy B movies. Vintage TV fans might recognize him for playing George MacMichael on The Real McCoys and Cully Wilson on the Lassie TV series. He would also make many guest appearances as one-off characters on many classic TV westerns. 

The following is a 1932 article from Modern Screen magazine about Andy Clyde. If you have any trouble reading, click on the pages and use your touch screen to zoom in. If you don't have a touch screen, click here.

Now enjoy a short film that Andy Clyde made for Columbia, Hot Paprika (1935).

The following is a review of Hot Paprika from a 1936 issue of The Philadelphia Exhibitor (Note: the review and the reviews that follow include spoilers so watch the film before reading). 

"HOT PAPRIKA. Columbia. 18 m. This has few gags that aren't outrageously burlesqued. Result is silly, depending on Andy Clyde's ability to draw laughs by appearance and dumbness. Told by the doctor that he has three months to live, Andy determines to do so with zest. He travels; finds self in Republic of Paprika; is mistaken for 'ze rich Americano who finances ze revolution. From then on, Andy is caught between Federalists and Rebels; escapes government firing squad only through intervention through rebels; wins war accidentally with machine gun. Fair" 

The following is a review from The Film Daily.

"Snappy Andy Clyde goes on a trip for his health to the Latin American republic of Paprika, where he runs afoul of the revolution, he gets himself in Dutch with the government troops. Andy is lined up against the wall before a firing squad, and escapes by a fluke and saves the day for the revolutionists. Thus he becomes a national hero. Good Andy Clyde technique in a yarn that has plenty of action and excitement and a pippy senorita for the sex angle. Directed by Preston Black." 

The following is an exhibitor's review for the Motion Picture Herald. 

"Hat Paprika: Andy Clyde - The funniest comedy we've played in months. Audience simply howled with delight. Running time, 19 minutes. - A.N. Miles, Eminence Theater, Eminence, Ky. Small Town Patronage." 

 

The Great Movie Shorts (1972)

 

Leonard Maltin's The Great Movie Shorts is a seminal book on classic short subjects. While this book is still incredibly enjoyable and informative today, to truly appreciate it, you must put into the context of the time it was written. At this time most writings about movie focused on "important" films, nearly all of which were feature length. A whole book long study of the live action short subject of the 1930's and 40's was something virtually unheard of. Today there have been many books written about classic short subjects (Leonard Maltin would even co-write another on (with Richard W. Bann), The Little Rascals: The Life and Times of Our Gang). As such this could have been a very basic history and still been an important book. That this is such a well-researched and incredibly informative (even today) book at this time makes it all the more impressive. 

This book is broken up into multiple different sections. The first of these is brief history of each major (and some not so major) Hollywood studio and their output in the short subject field. The second is a survey of many of the classic short subject series. This section makes up the bulk of the book and as well as the surveys each series gets a filmography giving you a list of each film, acting and directing credits and a plot summary. This section includes the most popular and famous series such as Laurel and Hardy, The Three Stooges, Our Gang (AKA The Little Rascals), Joe McDoakes, Pete Smith (whose shorts play on TCM regularly) and Charley Chase. Also included are the sound shorts of the beloved silent comedians Buster Keaton and Harry Langdon (the talkie work of legendary silent comedy producer Mack Sennett is even chronicled in this book). Here you get a great picture of an overlooked part of the work of some true Hollywood legends. There are also many series here that even the most avid cinephiles will not have seen or maybe even heard of. Not all the series listed here are comedies as we also get a look at such series as Crime Does Not Pay, John Nesbit's Passing Parade and Screen Snapshots. After this comes surveys of various genres that were not talked about in depth elsewhere in this book (newsreels, travelogues, musicals and sports). 

With all this the book marks a perfect introduction to those who wish to get further into classic short subjects, letting you know all aspects of the classic live action short subject, so that whatever your interests may be, you will know when to start. Maltin's writing also often fully reflects his passion for the subject and will make you want to seek out many of the films he has written about. Yet this book is equally essential to seasoned movie buffs. It's in-depth filmographies, look at obscure films (as well as the better-known ones), surprisingly in-depth histories and especially its quotes from many of those who worked on these films (many of whom Maltin talked to firsthand) make this just as essential reading for true cinephiles. Beyond this the book is simply a lot of fun to read. 

This book would be reissued and updated in 2015, when it would be retitled Selected Short Subjects" From Spanky to the Three Stooges. 

This book should have a treasured place in every movie buff's library. It certainly has a very cherished place in mine. 

Charlie Chaplin Carnival #5

 Hello my friends and welcome back for another selection of short films from my favorite filmmaker, Charlie Chaplin. 

Today's selection begins with a true classic of silent comedy, Shoulder Arms (1918). This was the most popular Chaplin film up to this time and for years, reviewers would use it as a yardstick to measure all the Chaplin films to follow. This film began production being planned as a five-reel feature (an issue of Pictures and the Picturegoer stated that it would be only three weeks before it was released in the U.S.). This feature would have shown Charlie before, during and after the war. However, Charlie eventually decided to trim this down to only the middle section, making the film a three-reel short. Even scenes during this middle section were trimmed though. Stills from a scene with Charlie having his army medical were used as publicity over the years, though this scene does not appear in the final film. 

Exhibitor's Herald, 1918

The Film Daily, 1918

Up next is a very early Chaplin film, A Flim Johnnie (1914). For movie buffs this film is a wonderful document. The short gives us a great look at the movie going experience, well over a century ago. This is especially seen in the early scenes in a movie theater, which looks quite different from a movie theater today to say the least. This short also does a great job at parodying the rising fan culture and the fame the emerging movie stars were just starting to have. This short was directed by George Nichols. Known as Pop, Nichols was a veteran of the early days of the movies. After the clashing between Charlie and director Henry Lehrman, Nichols would briefly become Chaplin's director. Charlie felt that Nichols' comedy ideas were already outdated. Charlie would state that Nichols' comedy ideas consisted of "one gag, which was to take the comedian by the neck and bounce him from one scene to another." Also seen in this film were Virginia Kirtley (as the "Keystone Girl"), Roscoe "Fatty" Arbuckle, Ford Sterling, Edgar Kennedy and Minta Durfee. Virginia Kirtley was the leading lady in Chaplin's first film (Making a Living (1914)). In 1916 she would marry comedian Eddie Lyons and would co-author some of the films that teamed him with Lee Moran at Nester comedies before soon retiring (in 1917) after giving birth to a daughter. In 1928 (two years after Lyon's died early from appendicitis), she tried to make a comeback to the screen but this attempt was unsuccessful. She would live until 1956, when she would pass away at the age of 67 in Sherman Oaks, California. Minta Durfee was Roscoe "Fatty" Arbuckle's first wife. Though their marriage did not last, the two remained on good terms and she helped Roscoe when he was falsely on trial for raping and murdering a young woman (a scandal that would ruin his movie career). 

Next is another early Chaplin short, His New Profession (1914). In later films Charlie Chaplin's character would be one who would very much receive the sympathy of his audience. This film however does not care if you like the little Tramp. In fact, the Tramp is actively unlikable here. Without an ounce of sentimentality or pathos here, this short is typical of the knockabout nothing is sacred type of comedy that the Keystone studio churned out on a regular basis. Though this is not one of the great comedian's best films, it provides a great look into the work of an artist before his art had become fully formed.  

Today's selection ends with Behind the Screen (1916). A pure slapstick classic, this film shows Charlie at his best. The comedy also features a top-notch supporting cast of Chaplin regulars. The film's villain is played by Eric Campbell, a large and heavy man, Campbell dwarfed the already fairly small Charlie Chaplin. This made him an imposing villain, who automatically made our sympathies with Chaplin. He played the villain in multiple Chaplin films and was probably Charlie's best on screen villain. In 1917, Chaplin had loaned Campbell to appear in a dramatic role in a Mary Pickford movie, Amarilly of Clothes-Line Alley (1918). Three days into the shooting of that film Campbel was driving home from a party after having too much to drink. He was driving 60 mph on the wrong side of the road and ended in a collision that ultimately killed him. He was only 38 years old. He appeared in 11 classic Chaplin comedies. Charlie's romantic interest was played by Edna Purviance, who played his love interest in most Chaplin films made during this period. Chaplin later directed her in a dramatic role in the feature film A Woman of Paris (1923). She would remain on Chaplin's payroll long after she stopped appearing in his films. Also featured in this film are Frank J. Coleman, Henry Bergman, Charlotte Mineau, Albert Austin and John Rand. All of these actors were Chaplin regulars. Coleman would even play multiple roles in some Chaplin films such as The Vagabond (1916) and The Count (1916). As well as appearing many Chaplin films Bergman also is credited as assistant director in what many consider the filmmaker's masterpiece City Lights (1931). After working in some of Charlie's many comedy shorts, John Rand would disappear from Chaplin's filmography for a while. However, he would later reappear in some of Chaplin's best feature films such as The Circus (1928), City Lights and Modern Times (1936). Albert Austin had worked with Chaplin before Charlie ever made a film as they were both worked for English Music Hall impresario Fred Karno (Stan Laurel was Chaplin's understudy during these years). Like Bergman, Austin would also receive an assistant director credit on City Lights. Austin also has a major role Mary Pickford movie, Suds (1920). 

Thanks for joining me. Stay around for more Chaplin and classic films in general. 

Resources Used


The Chaplin Encyclopedia by Glenn Mitchell.  

https://lantern.mediahist.org/

    

 

Charlie Chaplin Carnival #4

 Hello my friends. Once again it is time to celebrate my personal favorite filmmaker, Charlie Chaplin with a selection of his classic short films. 

Today's selection begins with Between Showers (1914). This marked the last of four Chaplin films directed by Henry Lehrman. Though Charlie never saw eye to eye with his early directors (before he began directing all his films himself), he and Lehrman never got along. Lehrman actually had a nickname in the movie industry and this was "Mr. Suicide." This was because he was well-known for having a very low regard for actors and their safety. Many extras actually refused to appear in his films for this reason. The storyline for Between Showers came from a recent series of rainstorms in Los Angeles. This short may be best known today as a Chaplin film but Ford Sterling is just as much the star of this film as Charlie. At the time Sterling was a major comedy star and one of the top draws at the Keystone studio. Some of Charlie's earliest films actually call for Charlie to essentially imamate Sterling's over the top bombastic style. Also featured in this film are Emma Clifton and Chester Conklin. The latter would after the Keystone days would reunite with Chaplin to play smaller roles in two of Charlie's feature films, Modern Times (1936) and The Great Dictator (1940). Conklin will also be a familiar face to fans of the Three Stooges as he appeared in such Stooge films as Flat Foot Stooges (1938), Dutiful but Dumb (1941), Three Little Twirps (1943), Phony Express (1943) and Micro-Phonies (1945). He may also be known for his dramatic role in Erich Von Stroheim's masterpiece Greed (1924).   

Next comes one of Chaplin's funniest short films, The Pawnshop (1916). This comedy is a pure masterpiece that provides one great laugh after another. The film features one of Chaplin's most celebrated sequences, a tour de force where he examines a watch. Though at the time he made this film, sentimentality and pathos were finding their way into much of his work, that is completely absent in this film. Instead, this short is a pure gag fast. 

For fans of silent comedy Tango Tangles (1914) is an all-star short. This film features Charlie Chaplin, Ford Sterlin, Roscoe "Fatty" Arbuckle, Chester Conklin and Minta Durfee (the first Mrs. Arbuckle). Tango Tangles is the final time that Charlie Chaplin and Ford Sterling would appear together. This is a rare film that features Charlie without an elaborate costume or makeup. Here you can see he was actually quite a handsome young man. Chaplin also gets to do his drunk act here. Before his movie career Charlie had often played a drunk on stage as part of the Fred Karno Troupe (including in the popular Mumming Birds sketch). Producer and director Mack Sennett sent these comics to the Venice Dance Hall on Abbott Kinney Pier and had them improvise the majority of the comedy (the patrons in the background are real life patrons, unaware that a movie is being made). The end result lasts around 10 minutes, making for a fast-paced fun little film that always puts a smile on my face.  

Cruel, Cruel Love (1914) is a perfect example of Chaplin playing a very different character than his typical Tramp character. In this short film, we get to see Charlie at his most over the top, hamming it up as much as Ford Sterling. This is one of the many shorts made for the Keystone studio during this period that was a parody of the types of films that D.W. Griffith made for the Biograph Studio. This film's storyline is especially similar to the Griffith short, Death’s Marathon (1913).

A Day's Pleasure (1919) is an often glanced over Chaplin film. Released around the time, Charlie was releasing some of his greatest masterpieces, this is rather a simple basic comedy. It was in fact a quickly made film made around the time Charlie was working on the first feature length movie he directed and starred in, The Kid (1921). The short even feature Jackie Coogan, who played the title character in The Kid.  The Kid was becoming a much more complicated and elaborate project than Charlie had planned. However, he still had a quota of short films he had to make for First National. So that he could devote more time to the feature, he made a quick and easy low-brow comedy. Coogan later remembered that during the making of A Day's Pleasure Charlie, "‘kind of sloughed that picture off. You’ll notice, if you see it, that it gets very jumpy. He lost interest in it." The result may not be up to par with other films, Chaplin was turning out at this time. However, for what it is this is a very fun little comedy with some funny gags. The following is a review from The New York Times (dated December 8, 1919), "Charlie Chaplin is screamingly funny in his latest picture, A Day’s Pleasure, at the Strand, when he tries in vain to solve the mysteries of a collapsible deck chair. He is also funny in many little bits of pantomime and burlesque, in which he is inimitable. But most of the time he depends for comedy upon seasickness, a Ford car, and biff-bang slap-stick, with which he is little, if any, funnier than many other screen comedians."

Thanks for joining me. Come back in the future for more Charlie Chaplin. 

Resources Used

The Chaplin Encyclopedia by Glenn Mitchell.  

Liner Notes for the Chaplin at Keystone DVD set by Jeffery Vance

https://chaplinfilmbyfilm.wordpress.com/2018/06/29/a-days-pleasure-15-december-1919/

https://chaplinfilmbyfilm.wordpress.com/2014/03/09/tango-tangles-9-march-1914/

https://www.jbkaufman.com/movie-of-the-month/cruel-cruel-love-1914

Madeline Hurlock - Vampire

 Some of the most overlooked actresses of Hollywood's golden age are those that played leading ladies to male comedians. However, to hold your own with some of the screen's best comedians is truly a talent. Madeline Hurlock was able to hold her own with the likes of Harry Langdon and Laurel and Hardy. Her films with Harry Langdon are personal favorites of mine. She also worked with some overlooked but talented comedians like Ben Turpin and Billy Bevan. She was one of the most popular and often used leading ladies at the Mack Sennett studio in the 1920's and appeared in many Sennett produced short comedies. 

The following is an article from a 1925 issue of Photoplay magazine. If you have trouble reading the following page click on the pages below and use your touch screen too zoom in. If you don't have a touch screen click here.




 

Here are a couple of her short films with Harry Langdon. 

Here is one of the shorts she made with comedian Ben Turpin.

She would appear in the first film in which Stan Laurel and Oliver Hardy truly work as a team, Duck Soup (1927). 

Madline was born on December 12, 1897, in Federalsburg, Maryland and passed away on April 4, 1989, at the age of 91. She was married three times. First to army sergeant John S. McGovern, then to playwright Marc Connelly and finally to playwright and critic, Robert B. Sherwood. The final marriage would last to his death in 1955 (at the age of 59). 

Bathing Beauties in Action

 Since this blog has been taking a look at the Mack Sennett Bathing Beauties, I felt that it is only right to have a post that is simply a collection of their films. 


I am a huge fan of silent film comedian Harry Langdon. So let's start off this post with two short films featuring both Harry and the Bathing Beauties. 

Mabel Normand and Roscoe "Fatty" Arbuckle take center stage in short, Mabel's New Hero (1913). This short film would later be rereleased under the title, Fatty and the Bathing Beauties. As well as the Bathing Beauties, this film also features the Keystone Kops. 

The Bathing Beauties found themselves in more comedies than just those that took place at the beach. The Ben Turpin comedy, A Harem Knight (1926) features our hero saving a harem girl. The harem naturally consists of the Bathing Beauties and a pool for them to swim in. Here are the scenes from that picture that involving the Bathing Beauties looking as beautiful as always. 

Now for a short film featuring Louise Fazenda, Ford Sterling, Phillis Haver and of course the Bathing Beauties, Hearts and Flowers (1919). 

Let us end this post with a video showing the Bathing Beauties at their sexiest. No drooling gentlemen. 

 

Gloria Swanson: Why I Am Going Back to the Screen

 As we continue our look at the Mack Sennett Bathing Beauties, there is one actress whose name will forever be attached to the Bathing Beauties. This is Gloria Swanson, who would always strongly deny that she ever was a Sennett Bathing Beauty. It can be heavily debated whether or not she was a Sennett Bathing Beauty. Though she acted in quite a few Sennett produced comedies, she had never been a typical Sennett Bathing Beauty in any of these films. She had made publicity photos and even appeared in films for the studio in a bathing suit. However, she was always one of the main players in her Sennett films and not part of the Bathing Beauty ensemble (You can read all about that in an excellent article by silent movie blogger extraordinaire Lea Stans). Still her name will forever be tied to the Bathing Beauties. 

The following is article from a 1937 issue of Photoplay magazine about Glora Swanson. If you have trouble reading the pages, below click on them and use your touch screen to zoom in. If you don't have a touch screen, click here. 

Here are a couple comedy shorts that Swanson made for Sennett. Enjoy The Danger Girl (1916) and The Sultan's Wife (1917). 

When Gloria Swanson appeared on TV's This is Your Life, Mack Sennett was one of the surprise guests. 

Gloria Swanson would do an impression of a Sennett Bathing Beauty in her most famous movie, Sunset Boulevard (1950). 

Mary Thurman: School Marm

 Here is a wonderful one-page article about silent film actress Mary Thurman from a 1924 issue of Screenland magazine. If you have any trouble reading this article, click on the page below and use your touch screen to zoom in. If you don't have a touch screen, click here.

I plan to do a whole series of posts about the Mack Sennett Bathing Beauties, so please stick around for those.  

What Has Become of the Famous Sennett Bathing Beauties

After the Keystone Kops, the second image that comes to mind when Keystone comedies or Mack Sennett is brought up is the Mack Sennett Bathing Beauties. Even back in the silent era sex sold (perhaps not much has changed in over 100 years). Showing beautiful women in bathing suits was a sure way to make sure, audiences enjoyed your films. Some of these Bathing Beauties would go on to successful acting careers, while for others these roles would be their 15 minutes of fame. 

Here is an article from an issue of Motion Picture Magazine (dated May 1932) taking a look at what happened to the famed Bathing Beauties. If you have trouble reading the following pages, click on them and use your touch screen to zoom in. If you don't have a touch screen, click here. 

Here is a classic 1919 short film featuring the bathing beauties. 

And here are the Bathing Beauties in all their risqué glory. Try not to get too excited gentlemen.