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Untitled Review, New Yorker, September 19, 1938, N.P., and “Block-Heads,” Variety, August, 31, 1938, N.P., Block-Heads Clippings File, BRTC

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Untitled Review, New Yorker, September 19, 1938, N.P., and “Block-Heads,” Variety, August, 31, 1938, N.P., Block-Heads Clippings File, BRTC Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher gratefully acknowledges the generous support of the Ahmanson Foundation Humanities Endowment Fund of the University of California Press Foundation. Hokum! Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture Rob King UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advanc- ing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2017 by Robert King This work is licensed under a Creative Commons CC BY-NC-ND license. To view a copy of the license, visit http://creativecommons.org/licenses. Suggested citation: King, Rob. Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture. Oakland: University of California Press, 2017. doi: https://doi.org/10.1525/luminos.28 Library of Congress Cataloging-in-Publication Data King, Rob, 1975– author. Hokum! : the early sound slapstick short and Depression-era mass culture / Rob King. Oakland, California : University of California Press, [2017] | Includes bibliographical references and index. LCCN 2016049875 (print) | LCCN 2016052138 (ebook) | ISBN 9780520288119 (pbk. : alk. paper) | ISBN 9780520963160 (Epub) LCSH: Comedy films—History and criticism. | Comedy films—United States—20th century. LCC PN1995.9.C55 K547 2017 (print) | LCC PN1995.9.C55 (ebook) | DDC 791.43/6170973—dc23 LC record available at https://lccn.loc.gov/2016049875 25 24 23 22 21 20 19 18 17 10 9 8 7 6 5 4 3 2 1 To my parents Contents List of Illustrations and Audiovisual Media ix Acknowledgments xi Introduction 1 PART I. CONTEXTS 1. “The Cuckoo School”: Humor and Metropolitan Culture in 1920s America 21 2. “The Stigma of Slapstick”: The Short-Subject Industry and Its Imagined Public 55 PART II. CASE HISTORIES 3. “The Spice of the Program”: Educational Pictures and the Small-Town Audience 95 4. “I Want Music Everywhere”: Music, Operetta, and Cultural Hierarchy at the Hal Roach Studios 125 5. “From the Archives of Keystone Memory”: Slapstick and Re-membrance at Columbia Pictures’ Short-Subjects Department 157 Coda: When Comedy Was King 191 List of Abbreviations 201 Notes 202 Index 245 List of Illustrations and Audiovisual Media FIGURES 1. Vivian Shaw, “The Cuckoo School of Humour in America” 24 2. Promotional photo of Bobby Clark and Paul McCullough 41 3. Frame enlargement from Snug in the Jug 48 4. Frame enlargement from Snug in the Jug 48 5. Frame enlargement from Snug in the Jug 48 6. Frame enlargement from The Big Idea 53 7. Frame enlargement from Don’t Get Nervous 56 8. Frame enlargement from Don’t Get Nervous 56 9. Frame enlargement from Don’t Get Nervous 56 10. Advertisement for Vitaphone 63 11. Cover of MGM Shortstory 75 12. Frame enlargement from Your Technocracy and Mine 83 13. Frame enlargement from How to Sleep 86 14. Frame enlargement from How to Sleep 86 15. Frame enlargement from How to Sleep 86 16. Press sheet publicity for The Eligible Mr. Bangs 99 17. Production still from The Lion’s Roar 103 18. Advertisement for Educational Pictures 109 19. Press sheet publicity for The Constabule 115 20. Production still from Palooka from Paducah 120 21. Production still from One of the Smiths 122 ix x list of illustrations and audiovisual media 22. Sheet music for “Smile When the Raindrops Fall” 130 23. Cue sheet for Looser than Loose 133 24. Musical transcription for “You’re The One I Love” 134 25. Musical transcription for “Your Piktur” 134 26. Frame enlargement from Looser than Loose 135 27. Frame enlargement from Looser than Loose 135 28. Frame enlargement from Looser than Loose 135 29. Frame enlargement from Looser than Loose 135 30. Production still from The Devil’s Brother 147 31. Special screening of Babes in Toyland at Bellevue Hospital, New York 151 32. Production still from Babes in Toyland 153 33. Frame enlargement from So Quiet on the Canine Front 165 34. Production still from Healthy, Wealthy and Dumb 168 35. Production still of The Taming of the Snood 172 36. Production still from Hoi Polloi 185 37. Frame enlargement from Cash and Carry 188 38. Frame enlargement from Cash and Carry 188 39. Samuel D. Berns, “3 Stooges Ready ‘Fresh’ TV Series” 199 VIDEO CLIPS 1. Clip from Love and Hisses 45 2. Clip from Don’t Get Nervous 56 3. Clip from Day of Rest 89 4. Clip from Looser than Loose 135 5. Clip from The Taming of the Snood 172 AUDIO CLIPS 1. Melody from “You’re the One I Love” 134 2. Melody from “Your Piktur” 134 Acknowledgments I have sometimes had the feeling that I was working on this book in secret, the private hobby of a decade’s worth of summers. But I’ll chalk that delusion up to the solitude of writing. I won’t say that it took a village exactly, but it did take some- thing like a campus or two. The book has its genesis in 2006, in the chance confluence between my purchase of a DVD box set of Buster Keaton’s Columbia shorts and Charles Wolfe’s invitation to contribute an essay on Keaton to a special issue of New Review of Film and Television Studies (vol. 5, no. 3). I don’t think he knows it, but it was Chuck who set me on the path that has eventually led here. Along the way, I have been supported by my colleagues and supervisors at the University of Toronto (where this project was started) and Columbia University (where it ended). I am particularly grateful to Elspeth Brown, Charlie Keil, and Janet Paterson at Toronto, and Nico Baumbach, Carol Becker, Jane Gaines, James Schamus, and Jana Wright at Columbia. Nic Sammond has been a patient auditor of my unformed ideas and gets his own sentence. Thanks, too, to Mark Lynn Anderson, Paul Babiak, Richard W. Bann, Hilde D’haeyere, Kathy Fuller-Seeley, Eric Hoyt, Steven Jacobs, Frank Kelleter, Richard Koszarski, Judith Yaross Lee, Jeff Menne, Ross Melnick, Tom Paulus, Joanna Rapf, and Yair Solan for helping me improve and develop my arguments. None of what follows would have been possible without the archivists who enabled my research: Barbara Hall, Kristine Krueger, Jennifer Romero, and Faye Thompson at the Academy of Motion Pictures Arts and Sciences’ Margaret Herrick Library; Patricia Prestinary at California State University Fullerton’s Special Collections; Peer Ebbighausen and Roni Lubliner at NBC Universal xi xii acknowledgments Archives; Steve Massa at the New York Public Library for the Performing Arts; Lauren Buisson and Julie Graham at UCLA’s Special Collections; Ned Comstock at USC’s Cinematic Arts Library; Sandra Garcia-Myers at USC’s Warner Bros. Archives; and Amanda Stow at the University of Wyoming’s American Heritage Center. That I have come to plan my holiday vacations as archive trips is testimony to the companionship I always find there. I have also benefited from the work of undergraduate and graduate research assistants who kindly took time from their own studies to help me: thank you, Michael Kaminski, Carolyn Condon, and Wentao Ma. Mauri Sumén, film composer for the Kaurismäki brothers, was a graduate student at Columbia while I was finishing this book and provided the musical transcriptions and audio clips for chapter 4. Columbia University’s film and video technicians, Peter Vaughan and Michael Cacioppo Belantara, created the movie clips when they weren’t otherwise occupied showing me how to use a remote control. Financial support for this project was provided by the Connaught Start-Up Fund at the University of Toronto, Columbia University’s Faculty Research Allocation Program, the Social Sciences and Humanities Research Council of Canada, and the Visiting Researcher Stipend Program of UCLA Film and Television Library’s Archive and Study Center. For the latter, Mark Quigley worked tirelessly in facilitating my stay at the archive and deserves particular thanks. The Open Access publication of this work was enabled by a donation to Columbia University’s School of the Arts and a grant from the Columbia Open- Access Publication fund. Two remarkable editors at the University of California Press navigated the book through its ten-year passage, Mary Francis and Raina Polivka. It was Mary who saw the possible value of my writing a “sequel” of sorts to my first monograph, The Fun Factory (2009); and it was Raina who, inheriting the project in its final stages, encouraged me to explore the parameters of Open Access publishing. Their associates, Aimée Goggins and Zuha Khan, patiently held my hand through the big little things that crowd any book’s final stages. My research and writing were happily delayed in 2012 by the birth of Samantha and Sullivan. That this occurred two months after my relocation to New York created a special kind of chaos out of which I now find myself, four years later, with a rather splendid family. My partner, Inie Park, gave up several years of weekends to let me hole up in my office while a real-life slapstick onslaught was happening just outside the office door. The twins gave me an invaluable education in humor, even though they’d choose Dinosaur Train over Laurel and Hardy every time.
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