Fan Magazine Fun: “Film Titles Travestied” And Other Cartoon Odds And Ends

Today let’s take a gander at Pictures and The Picturegoer, a British movie magazine that first came off the presses in 1911 and had a lengthy run until 1960 (it was eventually called just Picturegoer). The following cartoons, which filled in space at the editors’ whims, are all from October and November 1915 issues. They serve as fine opportunities for “humor archaeology”–in other words, trying to figure out what the heck they meant.

Here, for example, is “Film Titles Travestied.” Can you decipher it?

cartoon percy darling picgoer nov 20 '15

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Thoughts On: “Chaplin” (1992)

With the biopic Stan and Ollie now in theaters (although not playing anywhere near me, sadly) I thought I’d take a look at one of the more well-known silent star biopics, Richard Attenborough’s Chaplin. Most old movie fans seem to love it. As for me? Well, read on!

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Biopics are a dicey genre. How do you, say, capture a legendary talent from a century ago and showcase him to modern audiences, especially if many of them (likely) haven’t seen one of his films? Naturally, an overview of his entire career is a lot to ask–after all, there were tons of personal and professional events packed into those decades, and it would be tough to do justice to all of them.

Well, Richard Attenborough saw your reservations, and decided to raise you a busy tour throughout the entire life of Charlie Chaplin, ups and downs and all. And if you ask classic film fans about this biopic today, most seem to think it’s the best–why, it has great performances! Moving moments! It’s a fascinating, touching experience! It’s the bee’s knees to most folks, is what I’ve gathered.

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As you’re suspecting, I don’t have quite the same enthusiasm towards the 2 1/2 hour film, nor do I exactly understand why so many fans accept it so uncritically. There’s plenty I do like about it, but too much of it is bothersome to be a definitive look at the great comedian’s story–in my humble opinion. Continue reading

The Great Chaplin-Pickford-Fairbanks Liberty Loan Tour Of ’18

On this day back in 1918, Bapaume, France was retaken by the British forces and the Second Battle of Noyon ended.

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You’ve watched clips of girls screaming at the Beatles on the Ed Sullivan show, and you’ve seen footage of the vast crowds at the original Woodstock. Maybe you’ve sighed, “Those were the days of true rockstars–man, that must’ve been exciting!” (Or maybe you sighed because you remember that time and wouldn’t mind reliving it). But that spirit of rockstardom was around earlier than the 1960s, or even the ’50s–many decades earlier, in fact. For if you ask me, few events would ever rock harder than the Douglas Fairbanks, Mary Pickford, and Charlie Chaplin United States tour for the benefit of the third Liberty Loan drive of 1918. Bear with me.

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Planning the Liberty Loan “route.”

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Thoughts On: “Shoulder Arms” (1918)

On this day back in 1918, the French cruiser Dupetit-Thouars was torpedoed and sunk by a German submarine, and the Second Battle of the Marne ended.

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When Chaplin decided in the spring of 1918 that the setting for his next comedy would be the trenches of the Great War, many of his friends and coworkers were concerned. How could anyone insert slapstick routines into such a brutal conflict? How could that possibly be done in good taste?

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As it turns out, they needn’t have worried. The idea was, after all, in the capable hands of Charlie Chaplin itself. The resulting Shoulder Arms (1918) turned out to be both a great success in its time and a classic comedy for us today. Continue reading

Was Chaplin Really That Sentimental?

You see it pretty often on the Interwebs–folks who, usually while embroiled in one of those “Chaplin vs. Keaton” debates, will state that they like Charlie Chaplin well enough, but he’s “too sentimental.” They will then declare their allegiance to Buster Keaton, or else sigh: “They’re both so awesome, I just can’t choose!”

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Harold Lloyd sits patiently on the sidelines, as usual.

While I guess I understand this viewpoint, I scratch my head over it at times–and not just because I feel that Chaplin’s so-called “sentimental” stories are crafted with sincerity and taste. I’d venture a guess that most people today who watch Chaplin tend to focus on his 1920s-and-beyond work, the favorites being The Gold RushCity Lights, and Modern TimesAnd yes, these films are the go-to examples of his much-analyzed use of “pathos.”

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People can’t get enough of “pathos,” as my scientific graph demonstrates.

But this fabled “sentimental Charlie” we’re familiar with today wasn’t the character that 1910s audiences went crazy over. Quite the opposite, in fact! My friends, if you’re leery of supposed sappiness in Chaplin’s work I must urge you to get acquainted with…Keystone Charlie. Continue reading

The OTHER Artist Charles Chaplin

Phew! I’ve been a tad lean on the posts lately because of a couple silent film-related projects that had to be done LIKE RIGHT NOW, but I’m getting back into the swing of things. Coming soon: at least one of three article ideas bouncing around in my head right now, an Obscure Film review, and a couple blogathons, too.

Ah, the funny places research rabbit holes will lead you to. Hey guys, did you know there was another Charlie Chaplin?

No, I’m not talking about imitators like Billy West. And not Charlie’s father, Charles Chaplin Senior, either. This guy was a highly-acclaimed artist of the 19th century, and his name was Charles Joshua Chaplin.

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A strong resemblance, there ain’t.

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Forever Debonair: The Enduring Work Of Comedy Pioneer Max Linder

At first glance, he appears to be an actor from society dramas. He had perfectly creased trousers, well-shined shoes, a coat and tie, white gloves, and, most impressively of all, a high silk top hat brushed to a fine sheen. But then there’s those big, practically bulging eyes–eyes that could only belong to a comedian.

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These are the eyes of Max Linder, a film comedy pioneer that paved the way for all the great comedians of the silent era and beyond. If there’s a comedy routine you like, chances are Linder got there first. While he isn’t as well-known today as folks like Buster Keaton or Mabel Normand, Linder shares their aura of timelessness. All he needs is to be introduced to new audiences–for who today in this era of steampunk and all things vintage can resist comedies starring a dapper Edwardian gentleman with a tidy mustache and a top hat? Continue reading

In Defense Of “The Big Four” Of Silent Comedy

There’s an old quote you may have heard, attributed to Benjamin Franklin: “…In this world, nothing can be said to be certain, except death and taxes.” I’d like to amend that: “…In this world, nothing can be said to be certain, except death, taxes, and fans of silent comedy debating about the ranking of the Big Four.” (Or the “Big Three,” for the multitudes of you who haven’t made Harry Langdon an integral part of your lives yet.)

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There’s a reason Harry’s wiping away a tear.

General film enthusiasts take the informal-yet-widespread ranking of Chaplin, Keaton and Lloyd as the all-time best silent comedians for granted (and more would include Harry if they would actually watch Harry, harumph), but for some time now the tide has been changing among silent comedy fans. It’s not uncommon to find arguments in favor of less emphasis on “The Big Four,” of adding or replacing a comedian or two, or even of ditching the ranking all together. Those in favor of the latter say there were lots of popular comedians back in the silent era, and furthermore, these unjustly overlooked folks could be just as funny as Lloyd or Keaton. Thus, the ranking is unfair and not even historically accurate. Right? Continue reading

Should We Judge Stars By Their Personal Lives?

Not too long ago I saw a discussion in a Facebook group about a silent era actor who, it was revealed, had strongly supported keeping his wealthy neighborhood “White People Only.” Naturally this was disheartening news, and more than one person declared that they would never look at him the same way again.

I could hardly blame them, but it got me thinking: What do we do if we love a star’s work onscreen, but discover that they were less-than-charming off screen? Is it reasonable to judge a star by their personal life?

Temperamental Mae Murray.

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Charlie, Doug, and Mary–An (Almost) Ideal Friendship

The mischievous Little Tramp, the all-American daredevil, the Girl with the Curls–in the late 1910s they were three of the most famous faces in the world. And back in that smaller, more laid-back Hollywood, they just happened to be close in real life, too. Douglas Fairbanks and Mary Pickford’s marriage made them the cinema’s version of royalty. Doug and  Charlie Chaplin basically had a bromance. The trio clowned for publicity cameras, travelled together, gave advice on each other’s films. To fans they must’ve seemed like the veritable Three Musketeers of the movie business.

Literally attending the premiere of Doug’s The Three Musketeers (1921).

And in a way, they were…up to a point. Charlie and Doug were practically inseparable, and Doug and Mary were arguably the loves of each other’s lives. But Charlie and Mary? Well… Continue reading