Customer Reviews

The Forgotten Films of Roscoe "Fatty" Arbuckle

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4 star:		(5)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

This 4-DVD set has been a long time in coming and should go a long way in helping to restore Roscoe Arbuckle to his rightful place in the history of film comedy. One of its most rewarding aspects is the tracing of Arbuckle's development as a comic genius and having the opportunity to see the antics of some of the lesser known people he surrounded himself with. The collaborations with Mabel Normand and Al St John have been around for years but you almost never get to see Minta Durfee (Arbuckle's first wife and lifelong friend) or Edgar Kennedy (when he had hair) before his Hal Roach days. It's great to have the early Keystone comedies in decent prints (paper prints from the Library Of Congress) although the formula does wear thin after awhile.

Of special interest are discs 3 and 4 devoted to Arbuckle after Keystone and to his directing efforts after the 1921 scandal which wrongly resulted in his being banned from the screen as a performer. This material is very rare and features comics Lloyd Hamilton and Lupino Lane as well as a special treat from Douglas Fairbanks called CHARACTER STUDIES which features Carter DeHaven and a surprise postscandal appearance by Arbuckle. There is also an over the top sound film with Al St John (before he became a B Western sidekick) called BRIDGE WIVES which must be seen to be believed.

This brings me to the three minor issues I have with this otherwise sterling set. It would have nice to have one of the late Arbuckle sound shorts included so that we could hear Roscoe talk as well as see one of his last onscreen appearances. Why are there two versions of HE DID AND HE DIDN'T (only the tinting differs) when there could have been one more comedy added? It would also have been nice to have more commentary to give background on these films as they unfold. Out of 30 films only 7 have this feature.

But these are minor complaints with one of the best packaged silent sets in recent memory. The film presentations are fine, the musical accompaniment ideal, the commentary good, and the choice of material is great (Fatty's only surviving feature film LEAP YEAR is especially valuable to have and see). This release also comes with a comprehensive 35 page booklet on Arbuckle and the restoration work that needed to be done. Anyone who has any interest in silent film comedy should acquire this collection as soon as possible to be put up on the shelf with their Chaplin and Keaton sets. At long last Roscoe Arbuckle is finally getting his due and it's about time.

This is a superb 4-disc set that has been long overdue, but well worth the wait. Obviously a great deal of careful thought and effort has gone into this set, both in film restoration and overall presentation so that silent comedy experts and novices alike are sure to get a lot out of it. For a start, a 36-page booklet with excellent photos (some in color) contains essays and various information on Arbuckle, his work and films, as well as the manslaughter charge in 1921 - of which he was acquitted - that drastically changed the course of his career. Due to those unfortunate events many Arbuckle films have been sorely neglected, and most people might only be familiar with him through his 1917-1919 films with his famous protégé, Buster Keaton. The films presented here range from his start in the classic Keystone comedies in 1913 to a sound comedy (the only sound film in this set) from 1932 directed by Arbuckle, but most of them are Keystone comedies from 1915. They are the classic slapstick comedies most of us are familiar with, yet this selection is enhanced by other great comedy talents like the charming and delightful Mabel Normand who interacted with Arbuckle so well that this team was immensely popular with audiences; the often overlooked talents of lanky Al St John, who often plays Arbuckle's love rival and is an amusing contrast to Arbuckle's rotundness; and let's not forget Luke, the amazing super dog who adds spice to every scene in which he appears. Other highlights for me personally are, of course, Arbuckle's trademark flips and flicks with flapjacks and huge kitchen knives which he does expertly without even looking, and his very convincing transformation in women's apparel: really, if you didn't know it was Roscoe, you'd swear it was a funny, chubby girl!

Most of my favourites are on the fourth disc which features films of the 1920s, starting with a great 1-hour feature film "Leap Year", which was never released in the US. There is an entertaining segment featuring brief (ie a few seconds) appearances of other big stars: Keaton, Valentino, Fairbanks, Harold Lloyd and Jackie Coogan, and then five more comedies, each one quite different and all directed by Roscoe Arbuckle (some written by him as well) under the name of William Goodrich, and each one features other comedians. Particularly impressive is "My Stars" with Johnny Arthur, who does a great job of impersonating and making fun of stars like Harold Lloyd and Douglas Fairbanks - the latter dressed as Robin Hood, making flying leaps, bounds and gestures in an attempt to put Fairbanks to shame. I also got a kick out of the clever short sound comedy, "Bridge Wives", but with such variety on this disc and overall in the whole set, I'm sure there'll be something to satisfy everyone. Furthermore, careful attention to musical accompaniment means variety in performances and instruments (though most are piano scores) and there are also a few commentary tracks which add more insight into Arbuckle, his films and his many talented co-stars. Definitely a must for all silent comedy and slapstick fans!

You don't have to believe that Roscoe "Fatty" Arbuckle is the equal in genius to Chaplin, Lloyd and Keaton to appreciate this collection. The producers of this set believe he is, and they have put a great deal of love and dedication into this collection. Two aspects of Arbuckle's talents are showcased: as a silent comic actor with Keystone and later independently, and as a writer or director (later using the pseudonym "William Goodrich" after his notorious scandal rendered him unemployable after 1922).

To be convinced of Roscoe's talents as a comic actor, one needs first to check out "Fatty's Plucky Pup", the best Keystone entry in this collection. Often, Arbuckle's screen character is lazy, clumsy and empty-headed, prone to intentional or unintentional violence, until eventually driven by the love of a girl or some other incentive into redemptive action. The first reel of this movie is one of the best sequences in early silent comedy, as Fatty first burns his bed by falling asleep smoking, then transforms wash day into a disaster, as he first drops the laundry into the mud, then hangs it up, then tries to wash the clothes again with the hose, only resulting in getting himself, and his mother, soaked. The visual humor builds and cascades naturally, with all the actors well synchronized as in a dance or a vaudeville tumbling act. The Keystone-style chase at the end, showcasing the remarkable Luke the dog, is surprisingly refined, even suspenseful. This film matches easily, and perhaps exceeds, the creative output of Chaplin during the same period. Other fascinating films include "He Did and He Didn't" with Mabel Normand, which is a surprisingly dark, serious (albeit with a surprise ending) study of jealousy and revenge; "Coney Island" with Buster Keaton, an early glimpse into their partnership; and a generous sampling of other Keystone partnerings with Mabel Normand. This team produced movies that are remarkably sweet and romantic without being sugary.

As a sheer creative force, however, I was not convinced that Arbuckle belongs with Chaplin, Lloyd or Keaton. The later films in volume 4, which showcase his technical skills as writer and director, are at best a mixed bag. The movies starring Al St. John and Lupino Lane, in particular, are tired, unfunny imitations of the style of Keaton, Lloyd and the Keystone studio.

Another reason for owning this set is to gain a new appreciation of the output of the Keystone studio itself. The restorations in this set are superb, with good resolution and an apparent reduction in the speed of the film, so one gets a chance to observe the comic detail. The result is a realization that Keystone films were not all punches, kicks, cop chases and exaggerated pantomime.

As a final side note, someone seriously should do a box set on Mabel Normand. Her grace, breeziness and natural style of acting make her entirely convincing to the modern viewer -- she is closer to modern comic actresses like Meg Ryan than to the "silent clowns" she appeared with. Her humor often arises from a contrast between her innocent, petite, feminine exterior and a flirtatious, even lascivious behavior, and she can take or give a punch, or a comic fall, as good as the guys. Focus on her, rather than Fatty, in "Fatty and Mabel at the San Diego Exposition", or in "He Did and He didn't" -- you might be dazzled.

I don't know what to say that hasn't been said here. I absolutely love these DVDs, the quality is fantastic, the music is great, no annoying sound effects here, and the booklet that comes with the set is gold. Arbuckle may well be the most tragic figure in Hollywood history. He has been repeatedly trashed and lied about through the decades, starting with contemporary newspapers, women's groups, rubbish on tabloid-TV shows, Anger's obscene books, and the recent "I, Fatty" whose author fictionalized the man's life and passed it off as truth. A drunken woman of very ill repute died after possibly having a back-alley abortion at one of Arbuckle's parties. Thanks to a lying friend of the victim and a crooked DA (Hollywood couldn't even write this), as well as a public eager for gossip on newly created movie stars and phony pictures in the papers, Arbuckle is still known by the lesser educated at the "fat guy who killed a woman with a bottle." Thank goodness Paul Gierucki and his Laughsmith company have come along with these films and a documentary. The man died over 70 years ago, still slandered.
These films looks so good you wouldn't think they were made as long ago as 1913. Some you can watch with commentary, and I prefer the latter. I wish they all had commentary! It feels like Laughsmith Ent is in the room watching with you, and educating you as well, pointing out many bits of delicious trivia. Arbuckle is hysterical, so much so that it's not as apparent that you're watching something so old. Some films of the early teens are barely watchable, they look so dated. Arbuckle's antics make them enjoyable, and I know kids would enjoy these films. Buster Keaton (Arbuckle's buddy by the way) is popular with children. Silent comic fans: Buy this!! If you have to get a used copy, get one with the booklet.

If you're even considering whether to buy this or not, the answer should be YES. This is a long overdue tribute to one of the greatest and most influential movie comedians ever. There are several other customer reviews here that go into detail, so I won't. Take a look at what they say and add my vote in with their rave reviews.

For diehard fans of silent comedy, this is an important and overdue collection of Arbuckle's shorts, mostly from the teens, as well as some of his post-scandal directorial efforts. It contains much rare material, and it is very nicely restored and assembled.

And yet... compared to the best silent comedies, say the Keaton shorts or the Chaplin Mutuals, this is mostly pretty thin stuff. It's not Arbuckle's fault, exactly -- he was an incredibly dextrous physical comedian. But his screen persona -- a giant man-child ball of id -- is far less attractive than Keaton's or Chaplin's. The best silent comedies work by setting you up to expect one thing, and then giving you something else. These films, like the earliest Chaplins, work mainly on the Sennett principle: effectively delivering the gag you expect.

This is certainly the best Arbuckle collection available, and the four DVDs are reasonably priced. But if you don't already own the major box sets of Keaton, Chaplin, or Lloyd, or Harry Langdon: The Forgotten Comic, I would steer you there first.

"The Forgotten Films of Roscoe `Fatty' ARBUCKLE" is a sad and wonderful four volume DVD boxed set. It is a heartfelt labor of love valentine to a great silent era movie clown who bounced back even stronger after a 1922 San Francisco sex scandal that was filled with scandalous lies and downright nastiness. Faced with a public that refused to believe the court ruling that he was innocent of all charges Arbuckle, helped by best friend Buster Keaton, became a renowned and downright brilliant writer and director in the late twenties. He also helped direct several Keaton silent feature masterpieces without credit.

What a lovely DVD boxed set this is! Volumes one and two, about two-and-a-half-hours each, give us the Keystone gems of 1914-1915. Roscoe Arbuckle stars in several two-reelers for Mack Sennett with newcomer Charlie Chaplin, including THE KNOCKOUT and THE ROUNDERS. These two volumes give generous coverage to "Fatty and Mabel" (Normand), often as neighbors, often married to one another. Titles include ...WASH DAY, ...AT THE SAN DIEGO EXPOSITION, FATTY'S NEW ROLE, FATTY'S FAITHFUL FIDO, ...MARRIED LIFE, and WISHED ON MABEL. These shorts are funny, poignant, and very nostalgic. I've only seen one Mabel Normand feature film, from 1923; I do wish she had lived to make more. Rumor has it that Mabel and Roscoe (no one close to him called him "Fatty") often directed their own films. And that Chaplin and Arbuckle (and Keaton later) stole gags from one another. Significantly, Arbuckle usually got there first.

ARBUCKLE disk three has FATTY'S TINTYPE TANGLE (1915); HE DID AND HE DIDN'T (1916) with full tinting, and the nostalgic CONEY ISLAND (1917). Co-stars include Keaton, Al St. John, Normand, Louise Fazenda, and Edgar Kennedy. But the jewel of disk three is the premiere revival of a "lost" film called LOVE (1919), with Monty Banks and St. John joining Roscoe. My only regret is the exclusion of my favorite "Fatty and Mabel" two-reeler, FATTY AND MABEL ADRIFT (1916). Maybe it can star in an Arbuckle volume two collection.

The real revelations take place in disk four with LEAP YEAR (1921), never released in America. It is presented here in a gorgeous 35mm tinted archive print found in Europe and shows us a new direction Arbuckle might have taken if the blasted scandal had not destroyed him forever as an actor. It is a Noel Coward-like drawing room romantic comedy. Let's search some more European film archives for other "lost" Arbuckle features from around 1921.

But the real astonishment for me with this whole incomparable boxed set is the second half of volume four, Arbuckle spending the 1920's busy as a stunningly creative writer and director named "William Goodrich." Rumor has it that, uncredited, Arbuckle helped best friend Buster Keaton direct several silent Keaton features. As Goodrich, he just about floors one with uproarious laughter in a 1925 western cliffhanger serial spoof called CURSES (Al St. John), the 1925-1926 Hollywood satires THE MOVIES (Lloyd Hamilton) and MY STARS (Johnny Arthur), and a 1926 thrill comedy called FOOL'S LUCK (Lupino Lane).

Funniest and most inventive of all is a 1932 sound one-reel domestic farce with Al St. John called BRIDGE WIVES. People, this comic masterpiece was made only one year before Arbuckle died, giving the complete lie to the Hollywood myth that he died alone and forgotten. He really died of a heart attack at a writer/director peak. And he was clearly magnificently talented in both capacities as "William Goodrich". We simply have to find some more "lost" Goodrich/Educational Pictures silent shorts if the found and restored ones here are this peerlessly funny!

Silent film comedy lovers, do yourselves a favor. Buy or rent the fabulously funny "The Forgotten Films of Roscoe `Fatty' ARBUCKLE" on four disk DVD today. Spend four very special nights with Roscoe and realize that he truly was and is one of the silver screen's four great silent clowns, now and forever.

The DVD set, incidentally, comes with a lovely 36 page color booklet with insightful scholar essays on Roscoe Arbuckle's life and films.

After watching all 4 DVDs in this collection, I now feel certain that Roscoe was not one of the great comedians. But his short films are lively and entertaining, if not quite in the Chaplin-Keaton league.

Toward the end of DVD 3, Arbuckle starts making some really interesting films, such as "He Did and He Didn't", which does show quite a range of acting and directing (it's not a comedy).

If these were films that led up to a major career, then this would be an interesting look at Arbuckle's development, like the collection of "Chaplin at Keystone". But that is not the case, although he did go on to make "A Reckless Romeo", and the much improved comedies with Buster Keaton, which themselves seem preliminary. What a shame his career was cut off.

DVD 4, the films of other comedians directed by Arbuckle, is also very good. I love Lupino Lane, so I was happy to have a good print of a Lane film, with proper musical accompaniment.

Of all these films, the ones I like for multiple viewing are: "The Knockout", with superb musical accompaniment by David Sosin, "Mabel and Fatty's Married Life", with Arbuckle dressed nicely for a change, "The Waiters' Ball", "Love" (wow! a gorgeous pristine-looking restoration), "Fatty's Plucky Pup", an excellent melodrama, "Fatty's Tintype Tangle", with great accompaniment by Philip Carli on the piano, "My Stars" with Johnny Arthur, and "Fool's Luck" with Lupino Lane. "Waiter's Ball" has absolutely perfect musical accompaniment by The Mont Alto Orchestra. They make musical comments on all the action, and this is an example of exactly how music should be put to a silent film; it could not possibly be improved. It is the best job I've ever heard from this group of musicians, and I hope they get back to making this kind of accompaniment to silent films for future projects.

So, there are enough enjoyable films on this release to be well worth the money.

A LOT of truly noble effort went into the restoration of these films, several of which look stunning. I wish Laughsmith would put out a set of Lupino Lane movies.

It's such a treat and joy to have so many Roscoe Arbuckle films gathered together in one place, and with such a respectful and top-notch treatment, after so many years of unavailability. This set proves that he was indeed the true fourth genius of silent comedy, a title which I personally think he deserves far more than the overrated Harry Langdon. Most of my favorites on this set are on the third and fourth discs, among them 'The Waiters' Ball' (1916), 'Love' (1919), 'Coney Island' (1917), co-starring a frequently smiling Buster Keaton, 'He Did and He Didn't' (1916), and the four 1920s shorts he wrote and directed with various second-tier silent comedians. (The final short, 'Bridge Wives' [1932], stars his nephew Al St. John, who appears in almost all of the other shorts; it was so nice to finally hear his voice, after so long of only seeing him in silents!) Viewing the shorts in order really gives a sense of how much he was developing as a performer and a comedian, going from the rather crude and simplistic earliest Keystones (which, to be honest, haven't really aged that well) to more complex, polished, and sophisticated shorts like 'He Did and He Didn't' and 'Love,' culminating in his long-unreleased feature 'Leap Year' (1921), a truly well-crafted and sophisticated character comedy.

Though for many people, Keystone comedies are an acquired taste, one can't really be a fan of Roscoe unless one appreciates and respects these early film roots of his. Though the earliest Keystones haven't aged so well, they were hugely successful and made him a huge star, so much so that the other comedians of the era, particularly Chaplin and Keaton, often copied from him and considered him a very important teacher. And even within the confines of Mack Sennett's style, one can see Roscoe adapting his own character and slowly breaking out of that Keystone mold, becoming more independent. There's a huge difference, for example, between films like 'Fatty Joins the Force' (1913) and 'A Flirt's Mistake' (1914), and mid-range films like 'Fatty's Plucky Pup' (1915) and 'Wished on Mabel' (1915), where there's more of a plot and greater character development. One also must consider the audience for whom these early films were made. At this time, the movies were still by and large the entertainment of the masses, many of them immigrants who couldn't speak English, not refined high-society folks. These shorts may appear cookie-cutter, crude, and badly-aged today, but in their time they did the job they were supposed to for their target audience.

Once Roscoe did get away from the Keystone mold and gained more control over his films, he just got better and better, more and more professional, funnier and funnier, with a more and more endearing character. It's such a pity that the unfortunate scandal and his subsequent undeserved blacklisting happened when they did, since he'd been at the peak of his career, the top of his game, in some places voted the number-one comedian, above even Chaplin. He was even the very first of the big-name comedians to make a feature film, though it was unreleased in America for decades. There's no telling how his career would have continued to unfold had events gone otherwise. One can only guess how well he might have transitioned into features, the later part of the silent era (since the late Teens and very early Twenties were kind of a transitional period for film), or even the early sound era. Given the strength of the included shorts he wrote and directed, though, it seems as though he would have continued to soar as a star in his own right. It's too bad that the producers of this set didn't include one of his own sound shorts from the early Thirties, just to complete the view of the development of his career. It's too bad that this wonderful set is already out of print, but perhaps someday there might be another volume issued of more of his surviving films, esp. as more of them are turning up in recent years.

Laughsmith worked on this collection for so long that those of us waiting to see its completion began to despair of its ever seeing the light of day. Once it appeared, however, boy was it worth the wait. So many films either starring or directed by Arbuckle show a talent bursting with energy and enthusiasm. Buster Keaton often said he owed everything to Arbuckle, and finally you get to see why. Restored to just-released quality by the crack team at Laughsmith, and accompanied by beautiful scores and interesting extras, this is a collection that belongs on every movie buff's shelf.