Among the ranks of the many forgotten silent actors and actresses who specialized in similar kinds of dramatic roles or comic “types,” there were a few who were a little more unique. One was the actress Josephine Workman, aka “Princess Mona Darkfeather,” who (believe it or not) wasn’t actually an Indian princess and whose possible American Indian ancestry is a big question mark. But for much of the 1910s she was very popular among the moviegoing public–and, she was certainly a part of the development of the Western genre.
In honor of this here Turkey Day, I’ve decided to craft a small collection of photos showcasing a hot 1920s autumn trend: pictures of silent stars posing with turkeys. Apparently, no November issue of a movie magazine was complete without at least one of these.
Here, for instance, is Anna Q. Nilsson posing with a studio’s best stuffed turkey. Some of you might remember Nilsson’s cameo in Sunset Boulevard:
“I only fell in love once with a movie actor. It was Conrad Veidt. His magnetism and his personality got me. His voice and gestures fascinated me. I hated him, feared him, loved him. When he died it seemed to me that a vital part of my imagination died too, and my world of dreams was bare.”
Quoted from one of the documents compiled in British Cinemas and Their Audiences by J.P. Mayer.
He had a lean, chiseled face that could’ve belonged to a regal nobleman, a sickly poet, or a sinister villain. His blue eyes could burn with the fury of a madman, or grow wide and distant as if trying to forget terrible secrets. But they could become warm and friendly too, especially if you were chatting with this tall, distinguished man about his greatest passion: dramatic acting. “I must have the dramatic, the ecstatic,” he told an interviewer in 1928, “something with great mental force.”
Known today for such horror classics as The Cabinet of Dr. Caligari and The Man Who Laughs, Hans Walter Conrad Veidt (nicknamed “Connie”) came from a quiet and sensible background. Continue reading
In its review of The Blue Bird back in 1918, The New York Times declared, “…It is a safe assertion to say that seldom, if ever, has the atmosphere and spirit of a written work been more faithfully reproduced in motion pictures.” This observation holds true today, but with a twist for “we moderns.” For this film embodies the spirit of Edwardian fairytales and indeed many old European fairytales so thoroughly that for us, it could almost be from another planet. And for those of us willing to experience The Blue Bird today, that’s a good thing.
Fans of film history–rejoice! For in the Year of our Lord two thousand and seventeen, the library of essential early film books like The Parade’s Gone By and Mack Sennett’s Fun Factory has been expanded by Slapstick Divas: The Women of Silent Comedy by film historian Steve Massa. It’s been my most anticipated book of the year, and as you can already tell, I was not disappointed.
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
The Cook (1918)
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.
Out West (1918)
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.
Coney Island (1917)
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.