Silent laughter weekend

More Laurel & Hardy Revelations

This is the second in a series of posts  about Kennington Bioscope’s Silent Laughter Weekend, where a host of rare and obscure silent comedies were shown.

hundredyears

I keep saying it, but it’s a damn good time to be a silent film fan. We’ve seen so many rediscoveries of classic comedy footage lately, some that we didn’t even know existed in the first place! For Laurel & Hardy fans, of course the big news has been the rediscovery of the complete pie fight from ‘THE BATTLE OF THE CENTURY’, but there have been other discoveries too. Last year, we saw a new, much improved version of their early short ‘DUCK SOUP’; now comes a similar upgrade for ‘THE SECOND HUNDRED YEARS’, as well as two previously lost solo films.

At Silent Laughter Weekend, these were introduced by L & H experts Glenn Mitchell and David Wyatt, who provided some context for the rediscoveries. When Robert Youngson was compiling his silent comedy compilation films like ‘THE GOLDEN AGE OF COMEDY and ‘WHEN COMEDY WAS KING’ in the late 50s, he was the first person to access many of the silent comedy films for years. He was able to access the films before they decomposed, and the excerpts he chose are in many cases the only surviving material of the films now. However, as well as taking the footage he needed, it turns out that he had a habit of sneakily making copies of whole films that he particularly liked. He kept quiet about this, presumably so he didn’t get into trouble, and the prints went undetected. Meanwhile, by the time companies like Blackhawk got around to issuing commercial prints of the films, many of the masters had gone forever. Youngson’s orphan prints, which have only just come to light, preserved these in the nick of time. This is how the ‘BATTLE’ footage came to be, and is also the provenance of ‘new’ prints of ‘THE SECOND HUNDRED YEARS’ and ‘PUTTING PANTS ON PHILIP’, found by Jon Mirsalis, while examining other films in the Gordon Berkow (ex-Youngson) collection.

second-100

In contrast to the large chunks of ‘new’ footage in ’BATTLE…’, the new discoveries in ‘THE SECOND HUNDRED YEARS’ are less revelatory. They are, however, still worth noting. Essentially, there are a few scenes which go on a bit longer, presumably because advanced decomposition later led to these segments being cut. While these can be seen as fairly minor differences, they do restore the full film to us as the filmmakers intended it to be seen, for the first time since the late 1920s. Here are the key differences I spotted while watching it through:

1) Opening scene: The UK Universal DVD set introduces Stan to us as ‘Little Goofy’, but not Babe. This version offers a tiny bit of extra footage of the pair at the outset, as well as an intro for Ollie: “Big Goofy— convicted on purely circumstantial evidence—- they caught him with both hands in the cash register”. I believe this was included in the US ‘Lost films’ version, but certainly for UK fans this is new.

2) The flooded office: We get a couple of seconds of extra footage, showing Frank Brownlee stepping into the office and falling in the water that has risen through Stan and Ollie’s tunnel.

3) The paint scene: this is the most interesting new bit of footage, as it’s a completely new, albeit short, scene of L & H. After Stan has painted Dorothy Coburn’s behind, the pair run in and out of some parked cars , and the scene fades out, ending the sequence. The Youngson version adds a tag: we fade up on the title “Four hours later—- “ and see the cop still in pursuit of the boys in the dark! Stan drops his paint can, and the cop ends up tripping over and landing in it. This is where the scene was supposed to end.

4) Finally, there’s a little extra footage of the French prison governors as they are introduced, following the scene above.

While studio publicity referred to this as the first film starring Roach’s new team, and many historians accept it as such , it never seemed quite so clear cut to the studio just what the team would be billed as. Publicity refers to “Stan Laurel and Oliver Hardy”, “Oliver Hardy and Stan Laurel”, and even “the new comedy trio, Stan Laurel, Oliver Hardy and James Finlayson”! How did the original titles decide it? Revealed for the first time here, they fudge the issue by not giving team billing at all! The film is titled as ‘Hal Roach presents ‘THE SECOND 100 YEARS’’, with the cast following on the next title, like this:

With

Stan Laurel

  Oliver Hardy

    James Finlayson

      Stanley J Sandford

Perhaps the lack of a joint star billing above the title explains the reason why neither Stan nor Babe considered ‘THE SECOND 100 YEAR’ to be their ‘official’ first film, both instead giving this claim to ’PUTTING PANTS ON PHILIP’. As L & H fans know, ’PHILIP’ is actually far less like an official L & H film than this one; what it does have, however, is the billing ’Stan Laurel & Oliver Hardy in…’ before the title. Perhaps ‘PHILIP’ represents the moment when the matter of billing crystallised, a small but significant moment in their history. Speaking of ‘PUTTING PANTS ON PHILIP’, the new version from Youngson’s collection doesn’t contain any new footage, but does offer an upgrade in image quality. Hopefully both prints will be restored and available soon.

the-second-hundred-years-press-sheet

SOLO DISCOVERIES

We were also treated to the UK premieres of two L & H solo films. Both come from Italy’s Cineteca Nazionale, and accordingly have Italian titles. Translation voiceovers were ably provided for us on the day by Susan Cygan.

I wrote about the rediscovery of Stan Laurel’s solo film ‘MONSIEUR DON’T CARE’ a while ago, and particularly one two minute scene that made it to YouTube. To recap briefly, this was a spoof of Rudolph Valentino’s ‘MONSIEUR BEAUCAIRE’, and the only one of Stan’s 12 films for Joe Rock not to be around in some form. However, only 7 minutes of fragments have been recovered. On viewing the full extract, it turns out that the surviving footage is not one or two scenes, but a quick tour through the whole film. We open with Stan, as Rhubarb Vaselino, “practising his favourite hobby”: doing his make up. This is a parallel scene to one in Stan’s other Valentino spoof ‘MUD AND SAND’, both mocking Valentino’s legendary vanity. Here, Stan, applies beauty spots and goes about his ritual with comically oversized accessories.

monsieur_dont_care__still1_Next, we have a brief dinner table scene where Stan enjoys some bathtub gin, and a card table scene, where Stan is playing against a count, and accuses him of cheating. This leads to him having to flee, disguising himself as a barber, a per the Valentino original. There are the brief bones of a comic barber sketch, before we cut into the flirtation scene I discussed at greater length in the last issue: Stan is attempting to escort the lady across a puddle in the street to an anachronistic yellow taxi cab. He lays down his coat, Walter Raleigh style, on top of the puddle. Stepping on it, Stan and escort disappear beneath the water; yup, it’s an early example of the famous L & H bottomless mudhole™! Here’s that scene, courtesy of the Cineteca’s YouTube account:

Following this scene, a title informs us that “ a new lady makes her entrance into society”: cue a great scene of a vampy Stan swaggering along that holds lots of promise. Alas, this is where the footage ends, so we can only wonder what happened next!

‘MONSIEUR DON’T CARE’ looks like it was great fun, up there with the best of the Laurel parodies. Frustratingly, the surviving footage always cuts to another scene before any gags have the chance to build, but there are some very funny moments peppered throughout.

Finally, the Universe’s laws of equilibrium have been preserved, as , to accompany the new Laurel solo discovery, there’s a new Hardy solo film too! Hooray! ‘MAIDS & MUSLIN’ is more complete than ‘MONSIEUR DON’T CARE’; it is ,however, both much less funny and rather less interesting. The star is Jimmy Aubrey, a Karno colleague of Laurel and Chaplin, who made a string of alliteratively titled films (SQUEAKS & SQUAWKS, DAMES & DENTISTS, etc)  like this one for Vitagraph in the late teens and early 20s. While I can usually find something to enjoy in practically any comedian, I have to admit Aubrey leaves me cold in these films. He later showed, in character parts, (eg L & H’s ‘THAT’S MY WIFE’) that he could be very funny, but gets little chance to show any natural gag or pantomime ability in his own films, or at least the ones I’ve seen so far.

movpicwor471movi_0013Take this film, for example. It’s mainly crude knockabout set in a department store, based rather obviously on Chaplin’s ‘THE FLOORWALKER’, right down to a central staircase prop. Here, it’s a precursor of the collapsing staircase Keaton used in 1921’s ‘THE HAUNTED HOUSE’. Did Buster get the idea from here? Whatever, it’s a perfect example of why Keaton was head and shoulders above performers like Aubrey; in ‘MAIDS & MUSLIN’, there’s no reason for the prop to be there, and the only gags that happen are people falling down it. Keaton, on the other hand, furnishes a reason for the staircase, and adds in a host of different variations on its use, that almost make it a character in itself.

The best scene in ‘MAIDS & MUSLIN’ is actually outside the department store, as Babe chases Jimmy. Jimmy hides amongst some dummies and Babe searches for him, slowly becoming more and more suspicious. It’s a fun little moment of quiet between the slapstick madness, and significant that Aubrey is funniest when doing pretty much nothing, and leaving the reacting to Babe. The (unintentionally) most amusing moment of all though, is surely when the heroine writes a note describing Aubrey as “cuddly and charming”! What had she been drinking? I can’t think of any two less suitable adjectives!

Hardy almost certainly wouldn’t have used this description, as Aubrey had him fired from the series shortly after for upstaging him. It’s easy to see why, based on the evidence of ‘MAIDS & MUSLIN’. Even behind his huge prop moustache and eyebrows, the touches of humour Babe added to his traditional ‘heavy’ roles really shine through in a film with few genuinely amusing gags, and show how sophisticated his acting style was compared to most of the other performers in the film. Speaking of other performers, there’ s a blink-and-you’ll-miss-him scene of Monty Banks, and director Dick Smith (Alice Howell’s husband) also has a small role. It might not be a classic, but ‘MAIDS & MUSLIN’ is an interesting film to see, and helps paint a fuller picture of Hardy’s solo career.

These two films have been rescued and restored in 4k by the Cineteca Nazionale. Many thanks to them, both for their efforts in doing so, and for allowing the films to be shown as part of Silent Laughter Weekend.

Silent Laughter: Banjo Eyes & The It Girl

Take a couple of dozen silent comedians, rare and rediscovered film, brilliant accompanying musicians, special guests, some insane acrobatics, bomb duels, a murdered rooster, a song and dance craze and one very drunk pantomime horse, and what do you get?

The London Silent Laughter Weekend, of course! Hosted by the wonderful folk at The Kennington Bioscope, magnificently curated by silent comedy expert David Wyatt and upgraded from last year’s inaugural one day event, the festival consisted of 12 shows turning the spotlight on some unfairly neglected but often brilliant performers (Oh, and Jimmy Aubrey…). Over the next few blog posts, I’ll be revisiting some of the films we saw, including stars such as Syd Chaplin, Lupino Lane, Dorothy Devore, Walter Forde, Harry Langdon, Max Linder and Laura La Plante

Over the course of the weekend, we had a peek into several different areas of silent comedy not often seen. For instance, it’s easy to forget that, as well as the very visual, film-trained Hollywood performers,several Broadway stars made silent films. Will Rogers, Leon Errol, Eddie Cantor, WC Fields all came from the Ziegfeld Follies and all, improbably enough, transferred their largely verbal acts to silent films.sometimes, they transferred stage hits directly (in fact, even The Marx Brothers very nearly made a silent film version of THE COCOANUTS). While these stars all had much bigger success in films once sound came in, several of their siLents hold up very nicely indeed. Eddie Cantor’s KID BOOTS(1926) , kicking off the show, was a nice example. He had been playing in the hit show for three years when he made this film version. To atone for anything that was lost in translation from stage to screen, Paramount added in Clara Bow, just on the threshold of ‘It girl’ mega stardom, and a host of visual comedy sequences.

kid-boots-ad

Ol’ Banjo Eyes is Kid Boots, a tailor’s assistant. He is fired but can keep his job if he sells burly Malcolm Waite a suit. He makes a mess of it, of course, and makes a hasty exit before bumping into Clara, who is Waite’s girlfriend. Gazing into her eyes, he offers to sew her skirt, but distractedly sews his own suspender into it at the same time; this leads to a great sequence where he is pulled along the road after Clara. Bumping into Waite again, Kid Boots hides in a hotel, and finds himself becoming a key witness in Lawrence Gray’s divorce case. Gray has come into a fortune, which is enough to persuade his conniving ex wife (Natalie Kingston) that maybe she doesn’t want a divorce after all… Gray hides out at a golf resort with Kid Boots to escape the ex and her lawyer; who should be staying there but Clara and Malcolm? Things gather pace now as Cantor tries to woo Bow, while avoiding Malcolm, and Gray tries to avoid his ex and her lawyer, who are trying to frame him in a compromising situation to nullify the divorce.

There are some great sequences to replace the dialogue comedy of the original show. Some are slightly adapted versions of familiar silent comedy material—a brutalkid-boots physio routine borrowed from Chaplin’s ‘THE CURE’, some high and dizzy thrills and a race to the courthouse that owe a debt to Lloyd’s ‘GIRL SHY’, and others more original. The highlight is a sequence where Kid Boots tries to make Clara jealous; his date has stood him up, but that won’t stop him! With the aid of a carefully placed screen door, he acts out a date with himself, baring his left arm and adding powder and a bracelet to simulate an imaginary girlfriend’s arm. Milking it for all it’s worth, he manages, in a pantomimic tour de force, to make it appear as though his ‘girlfriend’ can’t keep her hands off him. One of the funniest sequences we saw all weekend, this scene shows that Cantor, despite his predominantly verbal style, could master visual comedy as well as anyone.

Mention must also be made of Clara Bow’s great performance. She simply pops off the screen with life and vitality in every scene, and adeptly handles comic timing. It’s plain to see that super stardom was about to happen to her, and indeed it did. By the time KID BOOTS was released, the NYPD had to hold back crowds at the film’s premier. All in all, KID BOOTS is a wonderful little film, and appeared even more so in a beautiful new restoration by Paul Gierucki.

.Take a look at the whole film here: (not as nice a looking print, but certainly decent enough)

 

 

 

 

 

Next up: some Laurel & Hardy rediscoveries!

Silent Laughter Weekend: Tickets now on sale!

Tickets are now on sale for Silent Laughter Weekend at London’s Cinema Museum. It’s just £28 for a weekend ticket – access to more than 10 screenings of rare and classic films with live accompaniment. The programme can’t quite be confirmed yet, due to waiting for archives and screening rights to come through, but it will be here very soon.

Tickets are available here….

… and you can read a few hints about what will be shown here

silent laughter flyer v3.jpg

Silent Laughter returns to London!

silent laughter logo

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!