silent comedians

Dark Hoarse

Here’s another film I never thought I’d see: one of only two starring talkies featuring Raymond Griffith.

Griffith was a real original among the silent comedians. He was suave and debonair, a bit like Max Linder, but added a jazz-age slyness and visual wit that were entirely his own. His starring features in the mid-late 1920s were big hits, but few are available for viewing today. Still, surviving entries like HANDS UP!, YOU’D BE SURPRISED and PATHS TO PARADISE are enough to confirm he was a major talent.

The coming of sound was enough to give even the funniest silent clown the jitters, but Griffith had more reason to worry than most. It wasn’t a case of simply not having a voice to fit his character, but rather his barely having a voice at all. An illness in his younger days had left him with little more than a hoarse whisper. Despite this, he gamely gave it a try in a pair of two-reelers made for Al Christie in 1929: POST MORTEMS and THE SLEEPING PORCH.

Each time, an excuse was found in the plot to justify his hoarseness; in THE SLEEPING PORCH, he’s supposed to be suffering from a bad cold. Despite the massive handicap he was facing, Griffith actually acquits himself rather well here. He’s still funny visually, with chance to make some great reactions (including an especially great double take incorporating a whole-body spin) and actually handles the dialogue very well considering, delivering some funny lines effectively. Certainly, for a 1929 talkie, this could be a lot worse. See for yourself, courtesy of Geno’s House of Rare Films on YouTube:

Clearly, there was a limit to how long the scriptwriters could keep coming up with variations on working Griffith’s hoarseness into the plot, and unsurprisingly, he didn’t sustain a career in talkies. His last role was as a dying soldier in ALL QUIET ON THE WESTERN FRONT. Happily for Griffith, he went on to a successful career behind the scenes at Fox.

As for THE SLEEPING PORCH, it’s an interesting little curio with some amusing moments. Thanks for sharing, Geno!

Monty Banks Kickstarter launches!

Monty Banks is one of the most underrated silent comedians, in my opinion. A likeable performer and great gagman, he made a string of shorts and, yes, features, that hold up very well but are rarely seen. One of those features, PLAY SAFE, is a bit of a classic in the silent thrill comedy genre, featuring an epic stunt-filled train chase that was excerpted by Robert Youngson in DAYS OF THRILLS AND LAUGHTER.

Now, Dave Glass has just launched his newest Kickstarter project, putting the spotlight on Monty. Included is the FULL version of PLAY SAFE, for the first time anywhere! There are also lots of other goodies, too – this is going to be an essential release. Take a look at the video below and head to the link to get your copy. But don’t delay, it’s only a 30-day window to pledge your support!

Here’s the link, and Dave’s great little video to introduce the project:https://www.kickstarter.com/projects/reelcomedy/monty-banks-silent-comedian/

Still need convincing? More on Monty, and PLAY SAFE particularly, here: More than a man on a train: Monty Banks’ Feature Films

When Johnny left home…

Here’s a fun little rarity, one of the few talkie shorts made by light comedian Johnny Hines. It’s an Educational Short from 1930; although Educational’s sound shorts have a reputation for being cheap, at this point they still had a bit more prestige, with decent budgets and good supporting casts. DON’T LEAVE HOME is a tightly plotted farce showing what happens when Johnny and his wife (Jean Reno) are forced to spend time apart and plan a surprise visit for each other. Hines is pretty good as a talking comedian, and the short gives him a nice mixture of dialogue, sight gags and reaction comedy to get his teeth into. It also has a juicy comic role for James Finlayson as a cynical cab driver, and a talking bit for Snub Pollard (he’s the plumber, without his usual moustache!)

There’s a blackface gag that it would have been better off without, but the rest of it is really pretty good, and it’s nice to see some silent veterans doing their thing in a strange new idiom. This is just one of the many delights on Joseph Blough’s YouTube channel, which has recently been spoiling us with many rare 1930s shorts, including Joe Cook, Ernest Truex and Lloyd Hamilton. Thanks Mr Blough for sharing these rarely seen gems!

Rare Ham

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Lloyd Hamilton exists now like one of those dusty, anonymous portraits hanging in a long corridor. To most people, if his image is seen at all, it is a faded likeness of the flesh and blood he once was, the achievements of his life almost totally forgotten. While this analogy could go for a good majority of the performers I write about here, none have faded or fallen so far from their previous colourful heights as Hamilton.

With his offbeat humour and fantastic reaction-based comedy, ‘Ham’ was once considered among the funniest men in the world (he was reportedly a favourite of both Chaplin and Keaton). But his career was dogged by spectacularly persistent bad luck. This continued beyond his early death, as his best films went up in smoke, leaving only a fraction of his works scattered in archives. Most of these are from the bookends of his career, either embryonic versions of the style he later perfected, or tired re-workings that his heart clearly wasn’t in. Only in snatches of classics like ‘THE VAGRANT’, ‘CRUSHED’ or ‘MOVE ALONG’ can we see what really made him special.

So, when a scarce or previously unseen Hamilton film turns up, it’s a pretty big deal for Ham’s fans (all 17 of us). Could each new discovery be the one, the film that restores his tattered reputation beyond doubt? A couple of years ago, a very rare example of his films, ‘A HOME MADE MAN’, turned up on eBay in a 16mm print. I placed several bids but lost out. The film never resurfaced; I figured it had gone to someone who didn’t want to share it with the world. That is, until I mentioned it to a friend, and it turned out that they had known the person who bought it. (Not only this, but there were some potential plans to have it telecine-ed (sic) with some other rare Ham films in the hope of possibly putting together a DVD of a few of his films. Excitingly, I finally got the chance to see the film a little while ago.

The stakes were high,  but the chances of it being a classic were pretty low. It was among Hamilton’s last silents, as problems with alcohol were taking their toll. Of another 1928 release, ‘ALMOST A GENTLEMAN’ critic Raymond Ganly’s review was short but brutal: “Remember how good Lloyd Hamilton used to be? Weep when you see him in this.” These late silent shorts tended to eschew his character based comedies for random gags and gratuitous slapstick. Would ‘A HOME MADE MAN’ be any different?

Well, as expected, it’s not the holy grail of Hamilton films. But, I doubt it would have made Mr Ganly weep, either. It was a pretty good comedy, below the Hal Roach comedies of the same time and Hamilton’s better previous work, but enjoyable. Like another late period Ham short, ‘BLAZING AWAY’, it has two distinct halves, and is based around Ham finding a job.

In the first reel, Ham has been sent by the employment agency to a soda fountain-cum-gym run by Kewpie Morgan. Morgan takes one look at him and winces, but he’s desperate, so Ham gets the job. Next we get the incompetent soda jerk routines you’d expect, with ice cream splattered, eggs broken and plates smashed. In fact, it’s all quite similar to the early scenes of Buster Keaton’s ‘COLLEGE’, from the year before. However, Hamilton is able to show what made him special. The way he delivers hackneyed gags in this line is uniquely his own, and it is not the slapstick itself that causes the laughs, but rather his hurt dignity. As a result, you feel less like you’re watching a Keaton rip-off, and more a reaction comedy that anticipates Oliver Hardy’s attempts to master simple tasks. As a result, the soda bar gags are the best moments of the film.

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Another typical Hamilton twist on standard material: he is carrying a huge pile of plates, that wobble to and fro. He loses his footing, and theplates are sliding all over the place…. but the crash never happens as he safely reaches the counter. Morgan and Hamilton sigh with relief; “I never broke a plate in my life,” says Lloyd. However, he has placed them on top of his apron on the counter top, and as he walks off, the plates finally crash to the ground.

Fearing for his remaining crockery, Morgan sends Hamilton in to the gym as a personal trainer. After all, if you can’t trust someone with breakables, then why not trust them with peoples’ health? Here, he predictably makes an equal mess of things, first trying to instruct a line of athletes in a nicely choreographed sequence, then taking to the gym equipment himself. Things go downhill from here, as his efforts on the rings lead to him swinging out of the window and clinging on to the ledge in a pretty feeble Harold Lloyd ripoff.

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Once he is safely back inside, the film ends with him pitted against Morgan in a boxing match, which he surprisingly wins. Ham victoriously leaves the gym behind.

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OK, so it’s not the classic  we could hope for. But, it does show what Hamilton could do, even with mediocre material, and as such I’m very glad to have seen it. Certainly it’s a decent comedy short for the time, and he makes the most of his opportunities, even when the material is subpar. Hamilton was without doubt a great, individual comic performer with his own distinct style. Yet again, after viewing one of his films, I’m left with the question: What could he have done with better material?

 

 

 

 

New issue of the Lost Laugh magazine

THE LOST LAUGH #10

It’s here, finally! 1001 things seem to have got in the way of completing it, but here we are. Inside you’ll find the final part of our look at the great Charley Chase’s films, an in-depth appreciation of master British comedian Will Hay, details of other British comics coming to DVD, a guest article about forgotten comedienne Marjorie Beebe, reports from last year’s Silent Laughter Saturday, plus all the usual news and views.

Right -click the link, and choose ‘Save target as…’ to download:

THE LOST LAUGH #10

Why not make sure you never miss an issue? Send an email to movienightmag <AT> gmail.com for details of how to subscribe to the mailing list. It’s free!

Oh, and don’t forget that back issues of ‘Movie Night’ (before we rebranded) are available to download from the magazine page.

Happy Reading!

 

Silent Laughter returns to London!

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Last October, Kennington Bioscope presented an all-day feast of silent comedy, which I wrote about here, here, here and here. Now, Silent Laughter returns to London’s Cinema Museum for a full weekend!

The programme is just days away from being revealed, but in the meantime, save the date of October 22 – 23, 2016.

More info will be available at http://www.kenningtonbioscope.com  and also at http://www.silentlaughter.org. I’ve also made a dedicated page on this site.

Tickets are a steal at just £28 for  weekend pass, or £16 for a day.

Watch this space for more details as they come!

The Full Monty!

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This terrific poster features Monty Banks, in a scene from ATTA BOY. Monty was, even in his day, a bit undervalued, so it’s no wonder he’s not mentioned much these days. A tubby yet dapper little Italian, he presented an appealing cross between Charley Chase’s farces and the Keaton-Lloyd model of thrill-climaxed gangbusters silent comedy. His most famous film nowadays is ‘PLAY SAFE’, or at least an extract titled ‘CHASING CHOO-CHOOS’. It features a stunt-filled train climax that ranks with anything by Keaton or Lloyd. His other starring features, among them HORSESHOES and A PERFECT GENTLEMAN, were of a similarly high calibre (these two films actually shared Keaton & Lloyd’s collaborator Clyde Bruckman as director). Here’s a clip from HORSESHOES. If you’ve seen the 1940 Buster Keaton Columbia short ‘PARDON MY BERTH MARKS’, you’ll notice that writer Bruckman lifted much of that film wholesale from here…

Despite the fact that he got to make features, and despite the evident quality of his work, Monty Banks never seems to have quite ‘broken through’ to full success. Perhaps audiences were just spoiled in the 20s by having such an outpouring of comedy films (generally two a year from Keaton & Lloyd, plus Chaplin’s sporadic efforts, not to mention Banks and all the other contenders). As a result, it was harder to stand out during a time of such riches. Despite Monty’s films being released by Pathe to replace the Harold Lloyd films they had lost to Paramount, he seems to have not been as financially successful as hoped, leaving him to head to England to escape bankruptcy proceedings in 1928.

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The Russians though, seem to have been fond of Monty, at least if their wonderful posters of him are anything to go by. Here’s another great Soviet poster, for A PERFECT GENTLEMAN. I recently watched the BFI’s copy of this film, and it’s an absolute gem of a farce comedy.

The English, too, were Monty Banks fans. Making his home there, he was welcomed by the film industry (as with Lupino Lane) as both star comic (‘ADAM’S APPLE’, ‘WEEKEND WIVES’, ‘SO YOU WON’T TALK’) and director (many films, most notably George Formby’s ‘NO LIMIT’ and ‘KEEP YOUR SEATS PLEASE!’ and several with Gracie Fields). In fact, these days he is best remembered as Mr Gracie Fields; they were married in 1940.

Certainly, his films need re-evaluating and to reach a wider audience. Based on what I’ve seen so far, they’re great fun.

 

The Mystery Mirth-maker

Now, here’s an obscure comedian…

Nicol Parre

I came across this ad while flicking through old editions of ‘The Exhibitor’s Review’, an old film trade magazine available to browse through online at The Media Digital History Library. One of the joys of digitally leafing through these is the fact that little oddities like this turn up. I’ve certainly never heard of Nicol Parre before, and no reviews seem to exist of this film, which begs the question of if it ever found a release at all.

A further search through the archives revealed only one more mention of Nicol Parre, not as star, but as producer for the ‘N.P. Film Company’ in another prominent ad in ‘The Exhibitor’s Review’:

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However, if we look a bit closer, I’d say the star they’re now promoting, ‘Dom Ferre’, is actually the same guy. Probably a classic example of trying to make a one-man operation seem bigger than it actually is. There’s a hint of desperation, too, in that blurb: “open to contract with any distributors”. Certainly, the surnames are suspiciously similar.

Both names sound French to me; was Nicol/Dom an ex-pat with previous experience in the French industry? Or was he of a French immigrant family in New York, trying his luck at films? We’ll probably never know, and I doubt ‘THE FARMER’ was much more interesting than its title. Still, an interesting reminder that for all the clichéd stories of extras and studio janitors crashing the movies, it could actually be pretty hard to break in as an independent film maker or comedian.

As a footnote to the story, the address above, 412 Lake Street, appears to be still standing on Google Street View.

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I wonder if there are any film cans buried in the backyard…?

 

 

 

The Return of Rhubarb Vaselino!

 

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As the silent film era recedes further from living memory, it’s a constant source of amazement to me how many ‘lost’ films continue to turn up. In the last few years, we’ve witnessed the rediscovery of unknown Chaplin and Keaton films, missing films by Harold Lloyd, Harry Langdon and Charley Bowers, and the prized second reel of Laurel & Hardy’s ‘THE BATTLE OF THE CENTURY’. Truly, it’s a good time to be a silent comedy fan.

The latest discovery seems to be one of the most interesting of Stan Laurel’s solo films. 1924’s ‘MONSIEUR DON’T CARE’ was one of his independent series of comedy shorts for producer Joe Rock. It was, until now, the only one of the 12 comedies not known to exist in any form. However, in November last year, a restored 7 minute fragment found in Italy was revealed to the world again at a screening at MoMA in New York. It seems to have received little fanfare – I can’t find any reviews or comments on the screening as of yet. Nevertheless, for Stan fans, this is an exciting discovery.

Before teaming with Oliver Hardy, Laurel’s niche was parodying popular film hits of the day. ‘BLOOD AND SAND’ becomes ‘MUD AND SAND’, ‘UNDER TWO FLAGS’ becomes ‘UNDER TWO JAGS’, ‘DR JEKYLL & MR HYDE’ becomes ‘DR PYCKLE & MR PRYDE’, and so on. These are the films that first made him stand out from the masses of baggy pants film comedians, and so form a crucial part of his development as a comic. Many of them are also great, fun comedies in their own right, prescient of the Monty Python style of robust burlesque. Since Stan’s great Robin Hood parody ‘When Knights Were Cold’ turned up (or some of it, anyway), ‘MONSIEUR..’ has been just about the only one of Stan’s parody films not around in any form. Even more interestingly, it revisits Stan’s parody of Rudolph Valentino in his earlier classic ‘Mud and Sand’. Stan’s version of the great lover is given the glorious appellation of ‘Rhubarb Vaselino’, and presents lots of opportunity for the silly parody that the British sense of humour does so well.

Here, Stan turns his sights on another Valentino film, ‘MONSIEUR BEAUCAIRE’, in which he portrayed a favourite courtier of Louis XIV, forced to flee to England and pose as a barber. As a vehicle for Valentino, it was perfect, allowing for lavish costumes, swashbuckling duels and romance. Stan’s version apparently followed the original story fairly closely, but obviously put a comic twist on the scenes.

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Rudolph Valentino in the original ‘MONSIEUR BEAUCAIRE’ (1924)

 

As with ‘MUD AND SAND’, much of the comedy no doubt came from Stan’s straight-faced appearance in the ridiculously lavish costumes and his comic variations on it; one frame grab from the discovered footage (below) shows him matching a ridiculous wig with a  20s vamp’s dress!

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On its original release, the Kinematograph Weekly sniffily griped that there was an excess of slapstick in the film, surely missing the point that its contrast with the high society and great romantic dignity of the Valentino original was a source for comedy. Anyway, few could do slapstick like Stan Laurel.  The other Rock films are generally all very good, and start to show signs of Stan’s talent maturing, so I’m certainly hopeful for this one. The most similar film from the series to ‘MONSIEUR…’ is ‘DR PYCKLE & MR PRYDE, which is the best of all his parodies, perhaps even his best solo film. With a little luck, this film matches up to its high standard.

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Hopefully, we’ll all get a chance to judge ‘MONSIEUR DON’T CARE’, even in it’s fragmentary form, soon, with more screenings or a DVD release. Come to think of it, it’d be a nice extra on a DVD of ‘THE BATTLE OF THE CENTURY’!

In the meantime, there’s more on the original discovery, with some frame grabs, and details of an Oliver Hardy discovery, ‘MAIDS & MUSLIN’ here. Be warned, you need to be fluent in Italian!!

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Stan chews on Syd Crossley. Interestingly enough, Crossley was originally meant to take Hardy’s part in the early L & H film ‘DUCK SOUP’. Laurel & Crossley? Hmm…

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Ben Turpin: improbable facts about Silent Film’s most improbable star

 

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Of all the silent comedians, none was more bizarre looking than Ben Turpin. The antithesis of Chaplin, Keaton and Lloyd’s realism, his equipment – crossed eyes, scrubbing brush moustache, and long neck with globular Adam’s apple – made him almost totemic for silent comedy’s wilder, more surreal side. In fact, when James Agee wrote the 1949 ‘Life’ magazine article that inspired the first serious silent comedy revival, it was Turpin’s mug that adorned the cover. That Turpin could not just become a star, but join the company of ‘Life’ cover stars including (at that point) Eisenhower, Rita Hayworth, Marshall Tito and Stalin is just one of the many improbabilities in his career. In fact, his whole screen career was based on unlikeliness: many of his funny films have him wonderfully out of place masquerading as Rudolph Valentino or Erich von Stroheim!

Here are  a few other unlikely truths about this living gargoyle..

1. Turpin was actually of French parents, although born in New Orleans. In his sound  films, you can detect the hint of an accent.

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2. His eyes were genuinely crossed. At the height of his fame, Turpin famously had his eyes insured by Lloyd’s of London as a publicity stunt.

3. Various stories circulated regarding the source of his miasma. The simple truth is much less exciting: after playing the cross-eyed character ‘Happy Hooligan’ in vaudeville several times a day, he found that one day, his right eye was stuck in position as a result of the repeated strain.

4.Turpin had an extremely restless spirit. He voluntarily became a hobo as a young man, choosing to ride boxcars in preference to finding a job. He did so for several years.

5.After finally settling with a variety of menial jobs, he played in vaudeville before being signed up by Essanay studios. Stardom? Well, not quite. Although he acted in films during the day, he was also required to sweep out the studio, collect props and box up films for shipment!

6.Ben allegedly took the first on-screen pie in the face, in 1909’s ‘Mr Flip’.

 

7. Behind his two-dimensional façade, it’s sometimes hard to recall his real life struggles: he dropped out of acting at the peak of his stardom to nurse his terminally ill wife, Carrie.

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The offscreen Turpin. Almost dapper.

 

8. Well into his 60s, he was a master of the perilous ‘108 fall’, involving kicking a leg up into the air, turning a somersault and landing on the floor. He would apparently often do it in random places around Hollywood, often accompanied by a cry of “I’m Ben Turpin -earn 2,000 dollars a week!”. Fellow comic Lupino Lane once recalled seeing Turpin stop traffic in the middle of Hollywood Boulevard to do his trademark fall! You can see him do it (alongside Lane, coincidentally) a few minutes into this sketch from ‘The Show of Shows’:

 

You can catch Ben Turpin’s films at Bristol’s Slapstick festival next week.

To find out more about his fascinating life, there’s also a great book available (click picture for link):

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