Are you looking for some fun, frothy movies showing Jazz Age partying in fabulous Art Deco mansions? Are you in the mood for sparkling jewels, immaculate tuxes and flowing champagne? Do you want to see some of those swirling, kaleidoscope shots of musical instruments and dancing couples? Then Our Dancing Daughters (1928) and Our Modern Maidens (1929) are the films for you!
And if you’re among the multitudes who are familiar with Joan Crawford from her 1940s dramas and Whatever Happened to BabyJane?, then get ready to see the strong-featured, oft-shoulder-padded star as you’ve never seen her–as a sparkling flapper who can beat anyone in a Charleston contest. Continue reading →
It’s one of the most famous documentaries of all time, familiar to folks around the globe. Most people at least know the title, even if they haven’t seen a frame of the film. And for those who have seen it, the story of “Nanook” and his family remains as charming and fascinating as it was back in 1922.
Not only was yesterday Buster’s birthday, but this weekend I’ll be heading to Muskegon, Michigan for the official Damfino convention! This will be my very first time at this event (I’m giving a presentation too, so wish me luck!). Thus, it only seemed fitting to start out this Halloween month with one of Buster’s more well-known shorts.
There seemed to be certain plots and tropes that all silent comedians tried out in turn. Everyone did food preparation gags, everyone went to the beach, everyone (everyone) from Harry Langdon to Chaplin himself showed up as a white-clad street cleaner at some point. In 1921, it was Buster Keaton’s turn to try his hand at the familiar gag-rich setting of The Spooky Haunted House.
While far too many films of Jazz Age star Marion Davies are lost or unavailable, happily a few gems still survive. In my opinion the shiniest gem is probably Show People (1928), an affectionate satire of the movies that’s the very definition of a “crowd pleaser”.
This is the final Comique Month post. Man, it’s gone by fast! A great big THANK YOU to everyone who’s been following along. If you haven’t seen much of Arbuckle’s post-Keystone work before, I really hope these posts inspired you to check it out. And I hope it will bring you as much joy as it has brought me!
The Hayseed (1919)
The Hayseed revisits Arbuckle’s beloved rural setting, with yes, another quirky small-town store. It was one of Arbuckle’s most successful shorts, popular with small-town audiences and city slickers alike.
There’s more of a plot to The Hayseed than other Comiques. Roscoe works at a village general store and is also the mail carrier (he always seemed to be a jack-of-all-trades in his films). Buster also works in the same store. Roscoe loves Molly, a country girl, but she’s also being courted by the local sheriff, played by gangly John Coogan (father of famous little Jackie). Naturally they become romantic rivals. It turns out, though, that John is not such a nice guy as he seems. Continue reading →
One of the cherries on top of the Comique sundae, The Cook is a giddy, determinedly free-spirited short that features Roscoe being an impromptu Salome, Buster Egyptian-dancing with careless abandon, and Luke the dog saving the day. It also features Goatland, and lemme tellya, more amusement parks could stand to have a Goatland. We’re missing out, my friends.
Following Comique’s move to the sunny spaces of California, the hits just kept coming. Moonshine is another highlight in Arbuckle’s filmography, considered to be one of the cleverest fourth-wall-breaking satires in Edwardian cinema. It’s also a bit of an anomaly in Arbuckle’s work, so it’s not hard to guess that Buster had a big hand in its ideas.
The ambitious western parody Out West is one of the most under-analyzed of the Comiques, although it’s sure been widely discussed. This is because of a stunningly racist scene halfway through the film, which tends to, shall we say, distract us from the rest of the content. But that content is important because, as I’m going to argue, it could well contain the clearest early example of Buster Keaton’s influence on the Comiques.
For decades, Coney Island was one of the most-watched Comiques, thanks to 16mm copies being in the public domain. Since few other Arbuckle films were available, it was sometimes cited as the “only” film where Buster actually smiled on camera–not true, as we’ve seen. Still, we’re lucky the lovable, crowd-pleasing Coney Island got to be one of those available few. It’s not only very funny, but treats us to all the period charm of an Edwardian afternoon at the famed amusement park.
Comique number four, and number three in terms of Buster Keaton appearances, was the cheekily-titled His Wedding Night–which of course offers nothing salacious. While not usually considered one of Arbuckle’s more outstanding works, it offers loads of fun gags and some “I can’t believe I’m seeing this” Buster scenes. Continue reading →