While browsing through old film magazines online (how often have I said that), an unusual photo caught my eye–a young woman with intense eyes, peasant-like clothing and long, unkempt hair. Oh, and she was gripping an ax.
Happily the full version is online.
Not something you see in those polished magazines every day! I had to find out the story behind it, and what turned up was one of those “rags to riches” types of Hollywood tales–with a unique twist. Continue reading →
This is post #1 of Comique Month! (I’m so excited, I’ve been wanting to write about this amazing studio for ages.) Enjoy, and check back often throughout the next thirty-one days as we dive into incomparable world of the Comique Film Corporation!
The Comique films! As cheerful as a sunny summer’s day and as energetic as jazzy music, Roscoe Arbuckle’s 1917-1919 series of two-reelers should be required viewing for anyone even remotely interested in silent comedy. They’re goofy, clever, cheerful, inventive, and contain some of the best choreographed slapstick sequences the Edwardian era ever devised. Chaplin’s late 1910s Mutuals may get the most applause, but the “Comiques” (as they’re often called) definitely deserve the most high fives.
At least three for this publicity photo alone.
But despite some excellent restorations, Arbuckle’s Comiques are still somewhat overlooked. They’re usually credited as containing Buster Keaton’s earliest film appearances, and…that’s about it. If they’re discussed in any depth at all, it’s usually in order to analyze Buster’s performances, speculate on which gags might be his, and to compare them with his later, independent work. In other words, the Comiques are held up as examples of decent enough, admittedly energetic films that are of course farinferior to Buster’s own 1920s shorts. Continue reading →