In the last month or so, the rest of the world has realized something that film fans and film historians have known for years -- 75% of American silent films are considered “lost.” Thanks to vault fires, decomposing original nitrate reels and a lack of foresight, the majority of silent cinema has been lost to time. While that’s a heartbreaking statistic, it also seems that every day a previously thought lost or extremely rare film is rediscovered or restored. Thanks to film fans and historians like Ben Model, these films are once again seeing the light of day.
Last summer, I reviewed Model’s “Accidentally Preserved,” a volume of nine rare/lost silent films that was funded by Model’s successful Kickstarter campaign. The response to the DVD and campaign was overwhelming, and the success of the film was great enough to fund a second volume!
“Accidentally Preserved Volume 2” once again presents viewers with nine more rare/lost silent films with beautiful new musical accompaniment by Model himself. The films were made between 1919 and 1928, and include comedies, cartoons, an ad and even an instructional safety film. The transfers are crisp and clear, making the jokes and animation that much more powerful.
Alberta Vaughn in "Sherlock's Home"
One of the highlights is a previously thought lost installment in the “The Telephone Girl” comedy series starring Alberta Vaughn. This episode, entitled “Sherlock’s Home” features a scenario written by Darryl F. Zanuck himself and co-stars Al Cook and Kit Guard.
"Charley on the Farm"
The cartoons are also notable and very entertaining and interesting on their own. “Charley on the Farm” is a Universal cartoon featuring a caricature of Charlie Chaplin rehashing some of the Little Tramp’s gags from the Essanay film “The Tramp.”
Here’s a complete list of the films featured on Volume 2:
Bobby Vernon in WHY WILD MEN GO WILD (1920)
Charlie Chaplin cartoon: CHARLEY ON THE FARM (1919)
Alberta Vaughn in SHERLOCK’S HOME (1924)
Neely Edwards in THE LITTLE PEST (1927)
Lloyd Hamilton in PAPA’S BOY (1927)
Henry Murdock in COOK, PAPA, COOK (1928)
Blasting cap safety film: HOW JIMMY WON THE GAME (1928)
Animated ad: CHRISTMAS SEALS FILM (1925)
“Accidentally Preserved Volume 2” is available now via Amazon.com. If you’re a fan of silent film or film history, or just want to support film preservation, I highly recommend picking up a copy. Who knows...if this release goes well, it could help fund a third installment of odd and wonderful forgotten silent films.
Thanks to my recent work with Essanay, I was given the exciting opportunity to pen a series of blog posts for the wonderful Classic Movie Hub site. I'm honored and flattered that the wonderful folks there would give me the chance to contribute to their blog, and I'm happy to announce that the first of these posts is now live for your reading pleasure -- "Charlie Chaplin at Essanay." Here's an excerpt to get you started:
"A celebratory dance and a hefty paycheck signaled the start of Charlie Chaplin’s stay with the Essanay Film Manufacturing Company, but his year-and-a-half stay with the studio produced more than that. It was the start of Chaplin as writer, director, actor and producer in total control of his work. It was the start of Chaplin as clown as well as an emotional actor. And it was the start of the actor as a major draw, not a nameless face."
You can read the entire post over at Classic Movie Hub by clicking here.
Keaton...Lloyd...Semon...Linder...Normand...they're all links in the "Chain of Fools."
Trav S.D.’s book offers yet another look at the world of silent cinema -- he explores the roots and history of this beast known as comedy itself, how it manifested itself on nitrate and how it has evolved into the bread and butter of sites like YouTube. In addition to an in-depth look at the vaudeville and stage comedians who came before, and an even-handed look at the famous and lesser-known silent film comedians of the time, he offers, perhaps, a more balanced and less cynical look at the body of work offered by silent stars after their heyday was well behind them.
Milla Davenport, Mabel Normand, Harry McCoy & Roscoe Arbuckle in a Keystone comedy
“Chain of Fools” is obviously written by a true lover of the form who is versed in the standard literature on the subject (notably Walter Kerr’s “The Silent Clowns”), and it's worth noting that Trav himself has paid homage to the form by writing and starring in his own silent shorts. The love for the genre comes through with every word, as does his dedication to set the record straight on some misconceptions.
Mabel Normand and Mack Sennett with Keystone players
Trav also traces the final days of slapstick and the strains of it that continue through to current comedians. Although his opinions of certain comedians are sure to rub some readers the wrong way (his opinion of Abbott and Costello is justifiably low) the honesty he approaches the subject with is refreshing. While some are taken down a peg, others are finally given their due. Mabel Normand and her fellow pioneering comediennes get their moment in the spotlight, as do Charley Chase and others. He also gives credit to heirs of the silent comedy throne, comedians like Red Skelton, Jackie Gleason and Chris Farley who directly or indirectly, found inspiration in the form and have kept it going.
For anyone new to the world of silent comedy, “Chain of Fools” is definitely a good place to start. Not only does it give readers an overview of the big names involved (from Sennett to Chaplin to Roach), it also calls out specific films as more or less required viewing. It’s also an excellent read and resource for devoted fans of the genre and history surrounding it with space dedicated to the films of Larry Semon and Harry Langdon, as well as Billy West and Max Linder. Overall, “Chain of Fools” is an excellent, informative and enjoyable read written by one silent film lover to another.
A favorite practice in silent film was for studios to find their version of the hottest star of the moment. Even studios who were fortunate enough to have signed the original star were constantly looking for replacements. Theda Bara called Fox Studios home for years, but when she left, the studio began to promote Betty Blythe as their new vamp. They even cast her in roles that were incredibly similar to those portrayed by Bara.
Imitators, replacements and second-stringers meant that the studios stood a chance to indirectly profit off of the most popular stars, even if they were signed elsewhere or unavailable. At a point in his career, Charlie Chaplin was the most recognizable figure in the world. He was one of the first silent film stars to become recognized internationally as a movie star, and was a guaranteed sure-thing for any studio or any theater that acquired him or his films. It should come as no surprise, then, that studios and aspiring actors and comedians would look to Chaplin for inspiration. Soon, many were cashing in on imitating Chaplin, and one imitator in particular made no effort to hide it.
Billy West was the best known of the Chaplin imitators. When the public was demanding more and more Chaplin films, a producer saw an opportunity and signed West to profit from that demand. His appearance (in costume) was identical to Chaplin and his films also borrowed heavily from Chaplin, so much so that the casual observer could mistake him for the real deal. West was signed to King-Bee and his heyday lasted from 1917-1918 -- when Chaplin was signed to Mutual. His studio even went so far as to call West “The Funniest Man on Earth.” Although West was the star of the pictures, his on-screen success was shortlived and certainly outshined by his on-screen foe Oliver "Babe" Hardy (later of Laurel and Hardy) and on-screen love Leatrice Joy. By 1920, West had given up his ‘tramp’ persona. To get a sense of West’s early films, check out ‘The Candy Kid’ below.
Silent film favorite Harold Lloyd found early success with his ‘Lonesome Luke’ character, which was also a nod to Chaplin. Unlike West, Lloyd was almost a parody of Chaplin. His costume was almost a reversal of Chaplin’s -- the clothes were ridiculously small instead of too big, he replaced the hat and divided the mustache down the middle. Although Lloyd found success with the “Luke” series, he, like West, eventually felt restricted by the persona. When Lloyd abandoned the ‘Luke’ persona and adopted his ‘glasses’ persona, he found a character that was truly his own and that proved to be a true box office threat to Chaplin.
Last week, I mentioned that Chicago played host to many large, well-known studios from the silent film era, including Essanay Studios which claimed Charlie Chaplin, Gloria Swanson and Ben Turpin as their own for a period of time. In the brief time that Chaplin lived in Chicago, he starred in a short film that featured Turpin *and* Swanson. That film was “His New Job.”
When Chaplin joined Essanay in 1915 it was huge news in the world of film. Chaplin had grown tired of Mack Sennett’s knockabout, slapstick Keystone comedies and longed for more subtle and clever gags than Sennett wanted. By joining Essanay, he was beginning to gain the freedom he would need to create his later masterpieces, and Essanay was reaping the benefits of having an internationally known comedian as part of their stock. And Essanay didn’t hold back when it came to announcing their acquisition.
But while he was in Chicago, Chaplin remained somewhat restricted. He wasn’t yet the director of his films, and he was still expected to churn out product on a regular basis to satisfy the public’s demand for him. To make matters worse for Chaplin, Ben Turpin was pushed to be his second banana, even though the pair shared very different ideas of what was comedy and didn’t get along very well. The partnership didn’t last long, though. Upon completion, Chaplin headed for the California branch of Essanay and remained there until his contract ended and he joined Mutual the following year.
“His New Job” is the only film that Chaplin filmed while in Chicago. The film doesn’t make use of its Midwest metropolitan setting, but it’s still entertaining to view as Chaplin takes a funny backstage look at the movie business, a subject that would continue to appear in comedies of the period. At the time of its release, critics were calling it the funniest comedy ever filmed. By this time, Chaplin had firmly cemented his Little Tramp character as his primary persona and was beginning to hone his characteristics and mannerisms.
You can watch the full short, featuring Chaplin, Turpin and Gloria Swanson, in an uncredited role, below.
For more silent film ads from Essanay and Chaplin, check out my Pinterest boards.
"Tillie's Punctured Romance" is often cited by film critics and historians as the first American feature-length comedy. Unfortunately, this is often the only commentary they offer about it. Even Leonard Maltin has called the film "Not terribly funny, or coherent, but there are good moments; mainly interesting for historical purposes." So many critics have disregarded the film as being only important for its historical value, that I embarked on my viewing of it expecting something altogether unwatchable. Instead, I was pleasantly surprised. Later feature-length comedies, like Harold Lloyd's "Grandma's Boy"(1922) and Charlie Chaplin's "The Kid" (1921) are no doubt better crafted and less dated. But "Tillie's Punctured Romance" is vital in helping us reach the brilliance of these features while managing to entertain us along the way. Is it a masterpiece? No. But it is also much better than the 2.5 stars Maltin gives it. Let's take a closer look at "Tillie's Punctured Romance." Synopsis
Marie Dressler as Tillie
Tillie Banks (Marie Dressler) is a poor, hardworking girl who lives with her abusive father. When a city slicker stranger happens into the Banks' home (Charlie Chaplin), Tillie immediately falls in love with him.
Charlie Chaplin as the stranger
Of course, not being a typical "beauty," Tillie's love goes unrequited...until the stranger learns that Tillie's father has a hidden stash of cash. Convincing her to elope with him and leave her father behind, Tillie and the stranger run off together, headed for the town.
Tillie shows off her elopement outfit
Tillie has trouble commuting in the city
As inexperienced as she is with city life, Tillie finds herself dodging automobiles and looking terribly out of place. The stranger's true love interest, Mabel (Mabel Normand), spots the couple and confronts her lover. She learns of her beau's plan, and when Tillie is sufficiently drunk and distracted, Mabel and Charlie take off with Tillie's purse.
The pair treat themselves to a new wardrobe at Tillie's expense. Meanwhile, Tillie is incarcerated for a short amount of time before her identity -- the niece of the town's millionaire -- wins her release. Taken to her uncle's mansion, Tillie remains rambunctious and disruptive, which results in her uncle and his servants throwing her out on the street.
Tillie is escorted by the Keystone Kops
Destitute and alone, Tillie gets a job as a waitress at a local cafe. Charlie and Mabel take in a film, aptly entitled "The Thief's Fate," depicting a thieving couple who are sent to jail for their crimes. Feeling guilty, the pair leaves for the park where Charlie discovers that Tillie's rich uncle has died in a mountain climbing expedition. Tillie is the only heir to his incredible fortune.
Sneaking away, Charlie pressures Tillie into elopement. Overwhelmed, Tillie only discovers her newly-bestowed fortune upon returning to the restaurant and rushes off with Charlie to claim her inheritance. The pair immediately move in and begin their entry into high society by hosting a ball. Mabel sneaks into the festivities disguised as a servant but is discovered by Tillie when she's found kissing Charlie.
Once again betrayed by Charlie, Tillie goes on a rampage. She begins by throwing objects at Charlie and ends up producing a handgun, firing shots wildly in his direction.
Enraged, Tillie tries to shoot Charlie
The action climaxes when Tillie's uncle returns home, injured by alive and the entire party is kicked out and Tillie's fortune is revoked. With nothing to lose, Tillie pursues the lovers, gun still in hand. The Keystone Kops get in on the action, chasing the crazed trio, when both Tillie and the Kops run off the edge of a pier. By the time Tillie is rescued, she has given up on her marriage to Charlie. Similarly, Mabel no longer wants him and the women end up embracing and declaring that he doesn't deserve either of them.
Tillie and Mabel embrace
The Stars
Marie Dressler
Although this was her film debut, Marie Dressler was already 45 years old, compared to the 22-year-old Mabel. An already accomplished vaudeville and stage star, Dressler brought a slapstick sensibility that rivaled Chaplin and Normand. In fact, there are several instances throughout the film where Dressler s reminiscent of Fatty Arbuckle. Sure, her size was used for the same comedic effect as Arbuckle's often was, but she brought a kind of mischievousness that few other comediennes -- or comedians, for that matter -- brought to the table. In later talkies, like "Dinner at Eight," Dressler gets laughs because of her impeccable comedic timing. In "Tillie," however, she proves that she can mug and take a fall with the best of them -- an essential part of any Sennett film.
Charlie Chaplin
Chaplin had many films for Keystone under his belt by this time and had already created his Little Tramp character. Unlike Chaplin's Little Tramp-based films, however, his character in "Tillie" is quite villainous. In "Tillie," he's completely self-serving, willing to drop Mabel or Tillie whenever it suits him. Although Chaplin is not portraying the Little Tramp here, his personality still shines through. His awkward flirtation with Tillie is hilarious and his physical comedy is perfect, as usual. There is also evidence of tiny bits of improvisation throughout the film. When Tillie falls into the ocean, Mabel and Charlie run to the water police mini telephone box to call for help. Rather than just open the box's tiny door to access the phone, Charlie first knocks on it repeatedly, as if he's entering someone's house or office.
Mabel Normand
Mabel Normand is also in fine form in "Tillie." Although Dressler is given the best material, Normand still has several little moments where her comedic talent truly shines through. One particular moment follows her first encounter with Charlie and Tillie. After having their squabble broken up by a cop, Tillie and Charlie storm off, leaving Mabel behind with the officer. In an effort to follow them without his knowledge, Mabel tosses down her muff, asking the officer to retrieve it for her. When he tells her to get it herself, the indignant attitude she immediately adopts is hilarious and unexpected.
Vintage silk card depicting Mabel Normand
Normand had been working with Sennett, and linked romantically with him, since 1911. She had filmed some shorts for Keystone with Chaplin, and would soon star alongside Fatty Arbuckle in more. Normand was a fine comedienne and a fine actress, but much like her costar Arbuckle, her name was to become linked with two separate Hollywood scandals, causing her career to suffer. She also battled tuberculosis and drug addiction and, tragically, died in 1930 at the age of 37.
The Film
"Tillie's Punctured Romance" has been called "uneven," but for the first American foray into feature-length comedy, it is remarkably even. The screenplay was adapted from the play "Tillie's Nightmare," and the resulting film still bears some resemblance to its stage cousin. It's presented in six acts, with title cards separating them. Some of the act divisions are haphazardly placed, however, and seem to split scenes in half. Marie is introduced at the beginning of the film in a very staged way. She appears before a curtain, bowing as the scene dissolves into Marie in character and costume as Tillie. It then dissolves again, revealing Tillie in her yard instead of in front of a curtain. This technique is recalled at the end of the film when the curtain is pulled on Marie and Mabel's embrace, and they and Charlie emerge to take their bows. The 'act' division may simply be a carryover from the play itself, but it is also likely that it served as a kind of marker for audiences not used to sitting through films more than 15 or 20 minutes long.
One of the biggest problems the film suffers from is Sennett's lack of time-based intertitles. The way events are presented would suggest that all of the events take place in the course of a day, but thanks to the newspaper reporting Tillie's inheritance, we learn that the day Charlie proposes is the day after her uncle dies -- giving us at least two days, if not more. Had Sennett included some intertitles to help transition from one day to the next, it would have prevented some confusion. Perhaps this (and a poorly truncated print) are what account for Maltin's claim that it is incoherent. There are also some simple continuity issues that could have been solved with just some reshoots (namely the absence/presence of the pier railing when Tillie and the Keystone Kops go off the edge).
That said, the film also shows some impressive editing techniques. The dissolves and transitions involving Marie's transformation into Tillie are impressive and smooth. The same can be said of the dissolves where Mabel and Charlie disappear at the end of the film. There is also a clever little closeup of Mabel as she spies on Charlie and Tillie from afar. The closeup highlights Mabel's frustration with Charlie and is the only shot of its kind in the film.
Thanks to movie magic, Marie transforms from herself...
...to Tillie
Mabel's closeup
"Tillie's Punctured Romance" helped usher in a new form of American comedy. Without "Tillie" we might not have "City Lights" or "The General." Yes, "Tillie's Punctured Romance" should be appreciated from a historical point of view, but why limit ourselves to just that? The story is entertaining, the actors are great, and the slapstick is some of the finest to come out of Keystone. Maybe with the likes of Fandor and the newly restored version of the film, "Tillie's Punctured Romance" will finds more fans willing to challenge its poor reputation.
.jpg "Tillie's Punctured Romance")
