Category: Silent Comedy International
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Red Noses in Black & White: Clowns in Silent Movies
For a clown, a real honest-to-goodness Clown, the core of what they are doing is rooted in the honest, raw, vulnerable connection they create and have with the audience members. This is the source of where the laughs come from. The costuming and make-up are an extension or exaggeration of who the clown performer is,…
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Arbuckle-Spotting, or: What Emma Clifton and I Saw Last Night
The things you see during a silent film show when you’re the one who’s closest to the screen! As a film accompanist, I’m constantly scanning the frame for information while I’m playing. Impending story developments can be introduced in different areas of a shot while other action is happening in the foreground, and I like…
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The Lighthouse and the Sidecar Get it Right
“The Lighthouse and the Sidecar” is a nickname that is probably more catchy in its original language, Danish. Evoking two things that are pretty much extinct doesn’t help either. But this was how many people in Scandinavia and maybe Europe referred to Fy & By (pron. FEE eh BEE), who were sort the equivalent of…
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“Jimmy Aubrey Comedy” is Not Always an Oxymoron
Worries and Wobbles (1917) has what might appear to be three strikes against it on the surface: “Jimmy Aubrey comedy”, “directed by Larry Semon” and that it’s a rather blatant knock-off of Chaplin’s One A.M.. The first of these is also usually an oxymoron. I can tell you that, like any of the very few…
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Charles Puffy’s Film Career Sandwich
You may know that face. No, it’s not Roscoe “Fatty” Arbuckle. Nor is it Oliver Hardy, sans mustache, nor is it Otto Fries, or any of the other lesser-known plus-size comedians of the silent era. This performer was in over 130 films from 1913 to 1939 — Destiny, Dr. Mabuse: The Gambler, Mockery, The Man…
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Leo McCarey, Charley Chase and René Clair Walk Into a Bar…
Rene Clair’s Last Silent Completes the Boomerang Arc of French Comedies To America and Back (image above sourced from SFSFF press/downloads page, whose image credit reads “Poster courtesy of the Cinémathèque Française”) There are a few occasions I can recall from many years ago when, after playing for a film at MoMA, I went home,…
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Looking for Squibs
Two main elements in film programming, I’ve found, are knowing the films and knowing where prints of them are. The rest, to a certain degree, is setting the table or parking cars in a lot. Sometimes the prints turn up in unlikely places, and one film we scheduled for Silent Comedy International at MoMA (Nov 23…