The 100 Greatest Silent Film Comedians

The silent film era featured some of the most revered names of on-screen comic performance, from Charlie Chaplin and Buster Keaton to Harold Lloyd, Douglas Fairbanks, and Laurel & Hardy. Besides these giants of cinema, however, there are other silent era performers—both leading actors and supporting players—who left an enduring legacy of laughter. In The 100 Greatest Silent Film Comedians, James Roots ranks the greatest performers based on a scorecard that measures each comic’s humor, timelessness, originality, and teamwork. Far more than just a listing, this is an idiosyncratic and entertaining review of the men and women who created the golden age of comedy. As a critic and deaf viewer, Roots brings a truly unique perspective to the evaluation of these performers and their work. He has viewed thousands of silent comedies and offers some assessments that run contrary to the standard list of performers. While many obvious names are placed in the top echelon, the author also champions performers who have been neglected, in part because their work has not been as visible. Each entry includes a filmography a scorecard an evaluation of the artist’s overall work an assessment of representative films DVD availability With the increased availability of films on DVD, as well as Internet access, more and more silent performers are being discovered by film fans. Supplemented by an appendix of comedians who missed the cut, as well as an annotated bibliography, The 100 Greatest Silent Film Comedians will be an invaluable resource to anyone wanting to know more about the brilliant entertainers of the silent era.

This book celebrates 100 significant silent film comedies from around the globe, including The Circus, The General, Safety Last, and Steamboat Bill Jr. Each entry contains information about the cast and crew, production details, DVD availability, and an explanation of why the film is essential viewing.

It would be impossible in a book of this size to offer anything like a comprehensive survey of the vast, tumbling, chattering, shrieking army of clowns who have peopled the first seventy years of the cinema; and this essay pretends to be no more than a bird's-eye view, only lingering from time to time over a figure of particular importance or special attraction. Even so, everyone will find some of his favourites forgotten, or written off in an inadequate aside. I can only apologize for the inevitable. The section of the book devoted to silent comedy may seem disproportionate; but I have felt it important to give space to the more remote and unfamiliar film comedians than to dwell on artists who are still active or whose work can readily be seen at first hand.

An encyclopedic look at silent film comedy that covers all the greats, from the Keystone Kops to Charlie Chaplin, Harold Lloyd, and Buster Keaton, as well as myriad lesser-known figures. Readers will delight in reacquainting themselves with the movies that first made audiences laugh.

"Great Silent Comedians Poster Art Book" is back with a revised, second edition and a new title! Retitled “Great Silent Comedians Movie Poster Book” by Jake Lenburg, the book spans nearly a quarter of a century, containing nearly 75 movie posters and lobby cards from the classic films of Hollywood's legendary silent film clowns: Charlie Chaplin, Buster Keaton, Harold Lloyd, Harry Langdon, Roscoe "Fatty" Arbuckle, Laurel and Hardy, and Charley Chase. Compared to the original book, the revised edition has a new design and layout. Thanks to the new size, each poster is full page in size. Best of all, nearly 20 posters have never been published before and were not included in the original book. Looks like collecting movie posters of the great silent comedians just got even better!

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.

'A lavishly illustrated, affectionate treatment by one of the finest critics of our time...Kerr is more than a brilliant master of verbal description; he is a penetrating, lucid theorist. This book is as much about comedy as about movies, about eyes and ears and how and why we laugh.'-Thomas Wills, Chicago Tribune Book World

Harry Langdon was a silent screen comedian unlike any other. Slower in pace, more studied in movement, and quirkier in nature, Langdon challenged the comic norm by offering comedies that were frequently edgy and often surreal. After a successful run of short comedies with Mack Sennett, Langdon became his own producer at First National Pictures, making such features as Tramp Tramp Tramp, The Strong Man, and Long Pants before becoming his own director for Three's a Crowd, The Chaser, and Heart Trouble. In The Silent Films of Harry Langdon (1923-1928), film historian James Neibaur examines Langdon's strange, fascinating work during the silent era, when he made landmark films that were often ahead of their time. Extensively reviewing the comedian's silent screen work film by film, Neibaur makes the case that Langdon should be accorded the same lofty status as his contemporaries: Charlie Chaplin and Buster Keaton. With fascinating insights into the work of an under-appreciated artist, this book will be of interest to both fans and scholars of silent cinema.