Say the phrase “silent comedy,” and instantly a host of clichés come to mind–pratfalls, silly mustaches, banana peels, wacky acting, and of course, pie throwing. (Although the latter wasn’t as common as we think).
50% of silent comedy pies were in this film (maybe).
Of course, there’s more to the huge world of silent comedy than those clichés (not that we don’t love them). From the one-reel farces of Max Linder to the light comedies of John Bunny and Flora Finch to the epic scale of TheGeneral, a wide variety of films fit under the “laughmaker” label, and this is partly because there were distinct trends in comedy that evolved just as quickly as cinema did itself. Continue reading →
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.
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.
I sometimes wonder: If comedian Larry Semon had been completely forgotten over the years–that is, if he hadn’t been discussed by Walter Kerr in The Silent Clowns, and hadn’t been mentioned by people like Buster Keaton, and hadn’t had public domain copies of his films passed around over the decades–in short, if he’d been relegated to the kind of obscurity once shared by Charley Bowers, Marcel Perez, and Musty Suffer, would we look at his films today and think, “Wow, this guy’s a great performer–why haven’t I heard of him before?” Continue reading →