Laurel and Hardy - the British Tours (Part 1) Pdf, Epub, Ebook
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
But from the Deck of the SS Cairnrona, Charles Chaplin Couldn't Spot Much Land
More than a day had gone by since the passengers had heard the cry of "Land Ho!," but from the deck of the SS Cairnrona, Charles Chaplin couldn't spot much land. Newfoundland was shrouded in thick fog. The gray rock formations that now and then jutted into view suggested a sparsely inhabited landscape, and the Canadian mainland, which came in sight some hours later, looked largely deserted. When the fog lifted, he saw only Québec's endless salt marshes stretching out ahead. Was this the New World, about which other performers in Fred Karno's vaudeville company had told such jaw-dropping stories? For months, Chaplin had hoped that the "guv'nor" of the English music hall would bring him along on the American tour, but now that he'd reached the last stage of the journey, he had to admit it was not as he'd imagined. Chaplin's thoughts strayed to Hetty Kelly, the girl with whom he'd spent a romantic afternoon in 1908. She had been on his mind ever since. He'd run into her by chance in London—how long ago was that? A few weeks, a month? They hadn't had much time. The next day she was leaving for France, she told him, to stay with her sister, who was married to an American multimillionaire. "Now tell me something about yourself," Hetty hastened to ask, embarrassed by Chaplin's disappointed look. "There's very little to tell," he replied. "I'm still doing the same old grind, trying to be funny. -
Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music. -
Mabel's Blunder
Mabel’s Blunder By Brent E. Walker Mabel Normand was the first major female comedy star in American motion pictures. She was also one of the first female directors in Hollywood, and one of the original principals in Mack Sennett’s pioneering Keystone Comedies. “Mabel’s Blunder” (1914), made two years after the formation of the Keystone Film Company, captures Normand’s talents both in front of and behind the camera. Born in Staten Island, New York in 1892, a teenage Normand modeled for “Gibson Girl” creator Charles Dana Gibson before entering motion pictures with Vitagraph in 1910. In the summer of 1911, she moved over to the Biograph company, where D.W. Griffith was making his mark as a pioneering film director. Griffith had already turned actresses such as Florence Lawrence and Mary Pickford into major dramatic stars. Normand, however, was not as- signed to the dramas made by Griffith. Instead, she went to work in Biograph’s comedy unit, directed by an actor-turned-director named Mack Sennett. Normand’s first major film “The Diving Girl” (1911) brought her notice with nickelodeon audiences. A 1914 portrait of Mabel Normand looking Mabel quickly differentiated herself from the other uncharacteristically somber. Courtesy Library of Congress Biograph actresses of the period by her willingness Prints & Photographs Online Collection. to engage in slapstick antics and take pratfalls in the name of comedy. She also began a personal ro- to assign directorial control to each of his stars on mantic relationship with Mack Sennett that would their comedies, including Normand. Mabel directed have its ups and downs, and would eventually in- a number of her own films through the early months spire a Broadway musical titled “Mack and Mabel.” of 1914. -
Nothing Is Impossible
Nothing is Impossible. Autobiography of William Hamilton Robertson (Known as Wullie, Scottie, Ginger, Sparks and Bill) Ballenbreich by Avonbridge, Falkirk Me my mum and Fred Explanation about Fred KARNO who I refer to in this book. Frederick John Westcott (26 March 1866 – 18 September 1941), best known by his stage name Fred Karno, was a theatre impresario of the British music hall. Karno is credited with inventing the custard-pie-in –the-face gag. During the 1890s, in order to circumvent stage censorship, Karno developed a form of sketch comedy without dialogue. Cheeky authority defying playlets such as “Jail Birds” (1896) in which prisoners play tricks on warders and “Early Birds” (1903) where a small man defeats a large ruffian in London’s East End can be seen as precursors of movie silent comedy. In fact, among the young comedians who worked for him were Charlie Chaplin and Arthur Jefferson, who later adopted the name of Stan Laurel. These were part of what was known as “Fred Karno’s Army”, a phrase still occasionally used in the U.K. to refer to a chaotic group or organisation. The phrase was also adopted by British solders into a trench song in the First World War, as a parody of, or rather to the tune of, the hymn “The Church’s One Foundation”. In the Second World War it was adapted as the anthem of “The Guinea Pig Club”, the first line becoming ”We are McIndoe’s Army”. The men, having their burnt faces etc. rebuilt, by the Famous Plastic Surgeon Mr. -
January, 2006
J A N U A R Y, 2006 V O L . 3 I S S U E N º 1 The Internet Noiseletter of Looser Than Loose Publishing LOOSER THAN LOOSE 373 South Willow Street Nº 227 Manchester, New Hampshire 03103 www.looserthanloose.com JUST RELEASED! TThhee LLaarrggeerr WWoorrlldd ooff LLaauurreell aanndd HHaarrddyy Volume III The second disc in this series offers another group of seldom seen comedy shorts populated (at least in part) by familiar figures in the world of Laurel and Hardy. With us this time are Babe London in a com- plete Christie-Educational two-reeler, Charley Chase in two shorts, Ed Kennedy in two shorts, another Billy West title with Babe Hardy in support and a handful of less familiar faces like Jess De Vorska and Billy Bletcher filling out the various casts. We’ve also included a spe- cial audio section featuring Music Hall performers Gracie Fields and Kirby and Hudson. Just in case that isn’t enough, our opening montage features a clip of Stan Laurel and Babe London “watching” the L&H short Our Wife in Stan’s apartment at the Oceana! As always, we have labored over the presenta- tion of these films. To that end, correct titles and inter- titles have been recreated whenever necessary, proper projection speeds (24 fps) have been observed and period (dance music) scores have been created from restored acoustic and electric 78 rpm records. The source materials for the visual elements on this dvd are all 16mm prints, except The Other Fellow which came originally from 35mm. -
The Gorilla in a Tutu Principle Or, Pecan Pie at Minnie and Earl's
The Gorilla in a Tutu Principle or, Pecan Pie at Minnie and Earl’s Adam-Troy Castro Prior Analog stories set against the backdrop of this very strange period in the history of lunar colonization were "Sunday Night Yams at Minnie and Earl's" (June 2001) and "Gunfight at Farside" (April 2009). Many years ago—and when a man as old as I am uses the phrase, “many years ago,” he means a lifetime—I told Minnie, “I’m an engineer, not a poet.” Minnie was a dear old gal of unfailing honesty, with a central role in what follows. I was in love with her eyes. I don’t mean this in a sexual way. The difference between our ages, and certainly our backgrounds, would have made that grotesque. But her eyes were rich and deep, and filled with an understanding of life’s greatest mysteries, that made them a perfect place to lose yourself when she was pointing out how silly you are. I haven’t seen her or her husband Earl in decades, but I can picture those eyes like it was yesterday. When I told her I wasn’t a poet, she said, “How dare you. It’s okay to operate under a poetry deficit, but to imply that deficit for an entire profession is dishonest. I’ve known more than my share of engineers, and any number of poets among them. Great engineering is poetry.” I suppose she was right. She was, in most things. Regardless, I can speak for myself. I’m not a poet, not even in the sense that sweet lady meant. -
178D5.226 Babes in Arms, Cops, Laughing Gravy, Tit for Tat, Flying Deauces 350 Feet 8Mm Silent, B&W and Colour
178D5.226 Babes in Arms, Cops, Laughing Gravy, Tit for Tat, Flying Deauces 350 feet 8mm Silent, b&w and colour. Extracts from commercial films starring Shirley Temple in Babes in Arms, Buster Keaton in Cops, Laurel and Hardy and Charley Hall in Doggy Daze extract from Laughing Gravy, opening title for Tit for Tat, Laurel and Hardy and Chaley Hall in hose race finale from Flying Deauces also animals on parade and animals from London and Whidsnape Zoos including seals, rhino, deer and birds Supplied by C. W. Cramp Noel Drewe, Circusama Yesterdays Circus Today Noel Drewe Collection 178D5.227 Ice Tricks, Hopeless Help Mates, Stagecoach, You’ll Be Surprised, Range Buster 8mm, Emi Tape Silent, b&w. Extracts from commercial films Ice Tricks (Pathetoscope release) Harrison Marks comedy Hopeless Help Mates, John Wayne in Stagecoach, Snooky the Monkey and Ready to Serve extracts from You’ll Be Surprised, a Chester comedy (once available from Kodascope), the last hold up from Range Busters starring Ray ‘Crash’ Corrigan, John King and Max ‘Alibi’ Terhune Noel Drewe, Circusama Yesterdays Circus Today Noel Drewe Collection 178D5.228 Rare Circus Shorts 1926 9.5mm, Pathescope Silent, b&w. Performing dogs, 30 feet first film released in 1926 by Pathescope Ltd, Toto Acrobat 30 feet cartoon with notched titles, Lions in Freedom 30 feet France not listed in catalogues, Elephant Bath 30 feet, elephants in India 1926, Trained Elephants 30 feet U.S.A.?, At Home with Lions 60 feet, Charles Gays U.S.A. U.S.A, India Noel Drewe, Circusama Yesterdays Circus Today Noel Drewe Collection 178D5.229 2 reels Reel 1: Wild Animals of South Africa, Dizzy Decorators, Sugar Daddies, The Blacksmith, Palace of Turkish Delights 400 feet 8mm, Photax Silent, b&w and colour. -
Pass the Gravy by Steve Massa
Pass the Gravy By Steve Massa Max Davidson had appeared in movies since the early teens – act- ing at Biograph, supporting Fay Tincher in her Komic Comedy and Fine Arts comedy, and briefly headlining in his own Izzy Come- dies” – usually portraying stereo- typical Jewish tailors and mer- chants. After scoring a notable success co-starring with Jackie Coogan in the features “The Rag Man” and “Old Clothes” (both 1925) he was hired by producer Hal Roach to be part of his stable of supporting comedians. Proving himself in the service of Roach star comics Cuckoos” (1927) introductory description of “Love’s such as Stan Laurel, Charley Chase, and Mabel Greatest Mistake.” Screen freckles usually denote Normand in the shorts “Get ‘Em Young,” “Long Fliv fresh and fun-loving characters, but Spec’s spots the King” (both 1926), and “Anything Once” (1927), came with an icy heart, a malevolent grin, and Max was bumped up to the leading role in his own beady eyes that loved to see his screen father series and given the opportunity to flesh out his squirm. standard screen persona. The first entries were di- rected by Leo McCarey, then director-general of the In contrast to his sons like Spec, Max’s screen Roach Studio, who laid the ground work with shorts daughters are always his pride and joy, but still such as “Why Girls Say No,” “Jewish Prudence,” cause him a lot of aggravation, particularly when “Don’t Tell Everything,” and “Should Second they take up with boys he doesn’t approve of or as- Husbands Come First?” (all 1927). -
Stan and Ollie'
'Stan and Ollie' A Screenplay By Jeff Pope Stan and Ollie - Goldenrod Revisions 20.04.17 1 BLACK. UNDER THIS this we hear a conversation. HARDY (V.O.) ... so Madelyn turned up. LAUREL (V.O.) Madelyn turned up? HARDY (V.O.) Completely out of the blue. Haven’t seen her in fifteen years... 1INT. DRESSING ROOM/ROACH LOT/STUDIO - DAY 1 Oliver HARDY leans against the door to a dressing room, worried expression, talking to his friend Stan LAUREL. Both are in their late-40s, (at the peak of their movie careers), but to begin with we have no real clue as to who they are, where they are or what they do. They are just two guys in cheap suits talking to each other. HARDY lights up a cigarette as he talks. HARDY There she was, all gussied up on the front door step. And that’s something I never thought I’d see again. LAUREL picks up a boot (the right one) with a large hole in the sole. Using a knife he levers off the heel. LAUREL What’d she want? HARDY Twenty thousand bucks. LAUREL Twenty thousand? HARDY Fifteen years of back alimony. I ** said ‘what alimony? When we broke ** up I gave you whatever money I had ** and you took the car.’ We both ** agreed that was that. LAUREL Jeez even Mae wasn’t after that much - and she wanted me to pay for a chauffeur. It’s because our faces ** are plastered all over town. ** Probably some lawyer’s bright idea. ** LAUREL levers off the other heel. -
Vaudeville Extravaganza! Live! 5 - Big Acts -5
ET KLE N IN JA Sept. 15, 8 pm, Alex Film Society presents VAUDEVILLE EXTRAVAGANZA! LIVE! 5 - BIG ACTS -5 a n d h s er oy Parlor B THE NIGHT BLOOMING JAZZMEN NOSTALGIC MUSIC REID & FAVERSHAM FARRAH SIEGEL COMEDY THRILLS RUSTY & ERIC GRIFF BUSS SWELLS FOOLOLOGY PLUS, On The Big Screen! Laurel & Hardy in THE MUSIC BOX (1932) The Three Stooges® in AN ACHE IN EVERY STAKE (1941) Alex Film Society presents the 8th annual VAUDEVILLE EXTRAVAGANZA! September 15, 2007, 8 pm. Alex Theatre, Glendale ach year, in the spirit of Vaudeville, and to THE MUSIC BOX honor the early history of the Alex Theatre, Black & White – 30 minutes – 1932 Ewe include a film portion as part of our Hal Roach Studios Inc. program. For our 8th annual event, we feature two shorts by the most enduring comedy teams in film Stan Laurel ................... Stanley history: Laurel and Hardy and The Three Stooges®. Oliver Hardy ................. Oliver Billy Gilbert .................. Prof. von Schwarzenhoffen* These films have a common theme as well, using a William Gillespie ........... Piano salesman* huge flight of stairs as an obstacle for our heroes. Charlie Hall .................. Postman* Stan and Ollie’s 1932 short, The Music Box, is Hazel Howell ................ Mrs. von Schwarzenhoffen* actually a remake of “Hats Off” a lost silent they did Lilyan Irene .................. Nursemaid* in 1927. Here the boys have to move a piano up a Sam Lufkin................... Policeman* huge flight of stairs (in the original it was a washing machine). Nearly ten years later, in An Ache in Directed by .................. James Parrott Every Stake, Larry, Moe and Curly seem to have Produced by ................ -
Best Picture of the Yeari Best. Rice of the Ear
SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history. -
Send in the Clones
Send in the Clones Chaplin Imitators from Stage to Screen, from Circus to Cartoon Ulrich Ruedel The Chaplin craze of the teens is often cited as one of the main indicators of the unprecedented popularity of Chaplin's little tramp. Chaplin imitators, cartoons, songs were abound. While Chaplin may indeed qualify as the most imitated character in film history, this "sincerest form of flattery" was not limited to him. Indeed, one of the historically most remarkable Chaplin imitations, that of former Chaplin understudy Stan Laurel, was part of a Keystone Trio stage act, which also included likenesses of Mabel Normand and Chester Conklin. Nor does the phenomenon of comic clones end there. Throughout film history, we find carbon copies of then- popular film clowns, sometimes unidentified today, often though probably quite justly forgotten.1 1 The Museum of Modern Art, for example, holds footage of an unidentified Snub Pollard imitator; imitations of Harold Lloyd's glasses character have been reported, and Wolfram Tichy's 1979 Harold Lloyd bioography presents an unidentified photo of what might have been such an imitator. Europe had their own, unique comedy success in the 20s and 30s, in the Danish comedy tramp duo of Fy og Bi / Long and Short / Pat & Patachon, and this author's research into this team (easily rivaling in popularity Chaplin, Keaton and Lloyd in countries like Germany and Russia) has so far confirmed at east four imitators, or "parodists," asppearing well into the 1950s. The Three Stooges are unique in this regard as their likenesses can claim a certain degree of legitimacy, either having gone through the same school as the original trio, Stooge inventor Ted Healy's act, that is, or in a couple instances even having the privilege of featuring former original Stooges.