Lame Brains Lunatics

A new batch of unsung practitioners and overlooked aspects of silent film comedy.

A new batch of unsung practitioners and overlooked aspects of silent film comedy.

Silent Film Comedy was a fortuitous combination of art and technology, where the physical comedy skills and artistry passed down from the Commedia dell'Arte, English music hall, and American vaudeville were captured for posterity by the newly created motion picture camera. While the Chaplins, Keatons, and Laurel & Hardys are still remembered and celebrated, this book profiles unsung practitioners such as Billie Ritchie, Marcel Perez, Lige Conley, and George Rowe, with special focus on the neglected comediennes Alice Howell, Gale Henry, Fay Tincher, and Josie Sadler. Popular icons on the order of Mack Sennett, Marie Dressler, Roscoe "Fatty" Arbuckle, and W.C. Fields are re-examined, plus detailed histories of silent comedy teams and kid's comedies are offered. The book also includes selected filmographies and is lavishly illustrated with more than 225 rarely-seen photographs and advertising images.

Silent Film Comedy was a fortuitous combination of art and technology, where the physical comedy skills and artistry passed down from the Commedia dell'Arte, English music hall, and American vaudeville were captured for posterity by the newly created motion picture camera. While the Chaplins, Keatons, and Laurel & Hardys are still remembered and celebrated, this book profiles unsung practitioners such as Billie Ritchie, Marcel Perez, Lige Conley, and George Rowe, with special focus on the neglected comediennes Alice Howell, Gale Henry, Fay Tincher, and Josie Sadler. Popular icons on the order of Mack Sennett, Marie Dressler, Roscoe "Fatty" Arbuckle, and W.C. Fields are re-examined, plus detailed histories of silent comedy teams and kid's comedies are offered. The book also includes selected filmographies and is lavishly illustrated with more than 225 rarely-seen photographs and advertising images. Steve Massa is a leading enthusiast of silent comedy, who has devoted 45 years to researching the genre. A librarian in the Billy Rose Theatre Collection at the New York Public Library for the Performing Arts at Lincoln Center, he has organized comedy film programs for the Museum of Modern Art, the Library of Congress, the Smithsonian Institution, and the Pordenone Silent Film Festival. In addition to consulting with the Eye Film Institute, Netherlands and other archives, and writing for film journals such as Griffithiana, he is a founding member of Silent Cinema Presentations which produces NYC's Silent Clown Film Series. Steve has also contributed articles and commentary tracks to many comedy DVD collections such as The Forgotten Films of Roscoe "Fatty" Arbuckle, Becoming Charley Chase, and Kino Video's Buster Keaton: The Short Films Collection.

Alice Howell (1886-1961) is slowly gaining recognition and regard as arguably the most important slapstick comedienne of the silent era. This new study, the first book-length appreciation, identifies her place in the comedy hierarchy alongside the best-known of silent comediennes, Mabel Normand. Like Normand, Howell learned her craft with Mack Sennett and Charlie Chaplin. Beginning her screen career in 1914, Howell quickly developed a distinctive style and eccentric attire and mannerisms, successfully hiding her good looks, and was soon identified as the "Female Charlie Chaplin." Howell became a star of comedy shorts in 1915 and continued her career through 1928 and the advent of sound in film. While she is today recognized as a pioneering female filmmaker, during her career she never expressed much interest in her work, seeing it only as a means to an end, with her income carefully invested in real estate. It has taken many years for her to gain her rightful place in film history, not only as a comedienne, but also as matriarch of a prominent American family that includes son-in-law and director George Stevens and grandson George Stevens Jr., founder of the American Film Institute and the Kennedy Center Honors, who provides a foreword.

W.C. Fields was at the top among comedians during Hollywood's Golden Era of the 1930s and 1940s and has since remained a comic icon. Despite his character's misanthropic, child-hating, alcoholic tendencies, his performances were enduringly popular and Fields became personally defined by them. This critical study of his work provides commentary and background on each of his films, from the early silents through the cameos near the end of his life, with fresh appraisals of his well known classics. Pictures once believed to be lost that have been discovered and restored are discussed, and new information is given on some that remain lost.

Despite its unabated popularity with audiences, slapstick has received rather little scholarly attention, mostly by scholars concentrating on the US theater and cinema traditions. Nonetheless, as a form of physical humor slapstick has a long history across various areas of cultural production. This volume approaches slapstick both as a genre of situational physical comedy and as a mode of communicating an affective situation captured in various cultural products. Contributors to the volume examine cinematic, literary, dramatic, musical, and photographic texts and performances. From medieval chivalric romance and nineteenth-century theater to contemporary photography, the contributors study treatments of slapstick across media, periods and geographic locations. The aim of a study of such wide scope is to demonstrate how slapstick emerged from a variety of complex interactions among different traditions and by extension, to illustrate that slapstick can be highly productive for interdisciplinary research.