With the massive success of Laurel and Hardy, who producer Hal Roach had paired together after signing them separately in 1926 (they would remain with his studio until 1940), the man had the bright idea of creating a female counterpart duo, bringing together Zasu Pitts and Thelma Todd. The team would make seventeen popular shorts from 1931-33, their first two, Let’s Do Things and Catch-As Catch-Can, looked at here today. Like all good comedy teams, you have two very different character types. Zasu comes across as the slightly depressed, nervous and fretful brunette, while Thelma is a much more vibrant and colourful blonde dame. . . the former’s desperation often dragging her more put together friend into rather unorthodox situations. In Let’s Do Things, they find themselves as employees selling music for a giant department store... while looking for a way out of their dead-end jobs.
I often wish the studio system would turn back time (in a sense) and begin to focus on developing short films again. A wonderful way to cultivate and produce young talents (think Charlie Chaplin or The Three Stooges), it also provides the audience with fun, brief excursions into fantastic worlds before even delving into the main feature. Comedy, drama, horror and even action work nicely in shortened versions, which is why I like to highlight certain pint-sized motion pictures from time to time – today, we will look at Buster Keaton’s 1920 comedy The Scarecrow. A premier example of ingenuity and the genius of motion, the nineteen minute tale follows two farmhands (diminutive Keaton and the much larger Joe Roberts – another example of the ever-comical combo of fatty and skinny) as they vie for the hand of the youthful and pretty farmer’s daughter (Sybil Seely). The two room together in a house of contraptions – the record player seconds as a stove, bed as a solid wooden piece of furniture/piano, bathtub as a settee and so on. Perhaps even more impressive is their dinner table design – ropes hang from the rafters on pulleys, meaning that everything from salt and pepper to food and beverages are attainable from anywhere at the table (Keaton had originally developed a similar mechanism at their family’s summer home when he was just a child). When done, they have a speedy way to do the dishes as well – afterwhich the ropes disappear and a light fixture descends from the ceiling. It is a spy’s house without the spy.
An unbelievable look back at 1920's New York City, Harold Lloyd’s final silent feature, 1928's Speedy, depicts The Big Apple in all of its hopeful Jazz Age glory. Featuring mind-boggling action and footage shot around the city, including old Yankee Stadium, down Broadway at beautiful Bowling Green, Coney Island in all of its former glory (Luna Park is on full display – it was ravaged by fire in 1944 and closed for good in 1946), Union Square in Manhattan, a ridiculous stunt in Washington Square Park as well as under the Brooklyn Bridge, and so many other places, it is a sweeping look at a city that has changed so very much over the ninety years since it was filmed there. The portion set near Sheridan Square in Greenwich Village (which is actually mostly an intricate set that Lloyd built in Hollywood), features a slower paced part of the city. With it having the last remaining horse-drawn streetcar route remaining, it highlights the final place in the metropolitan that has not been replaced by the hustle and bustle of the modern age. The streetcar owner is Pop Dillon (Bert Woodruff), whose granddaughter is Jane (Ann Christy), a young woman who is dating the job hunting Harold ‘Speedy’ Swift (Lloyd) – an ardent Yankees fan.
Combining a touch of horror and film noir within a murder mystery, Abbott and Costello once again add their unique brand of humour to dark subject matter in the 1942 classic comedic caper Who Done It?. Directed by Erle C. Kenton (Island of Lost Souls), this flick finds straight man Bud Abbott playing Chick Larkin while funny man Lou Costello portrays Mervin Q. Milgrim; together, they are a pair of simple-minded soda jerks on the bottom floor of a popular radio station. Yet, their true dream is to become head writers for a mystery themed radio show – which is why they took the low paying jobs in the highfalutin building. Finding writer Jimmy Turner (Patric Knowles) and secretary to the boss, Juliet Collins (Mary Wickes), in their midst while working at the soda and ice cream bar, they see this as a prime opportunity to pitch their idea. Turner takes a liking to the funny friends and invites them to a live taping of his program, Murder at Midnight.
I recently sat down with famed comedian Mike MacDonald, who has had much success touring North America over the past several decades. The popular comic has done it all, including performances of his stand up on Late Night with David Letterman, The Arsenio Hall Show, having comedy specials on Showtime and the CBC, as well as being a staple at the ‘Just For Laughs’ comedy festival in Montreal. He has even starred in a few movies. After his sidesplitting performance at The Port Theatre in Cornwall, Ontario (on August 19th, 2016), the funnyman was kind enough to sit down with me, telling me about some of his favourite films. He immediately referenced the parody as being his preferred type of motion picture. He eloquently and succinctly highlighted a key aspect in creating a successful parody: "when you want to piss on something, it is good for a two or three minute sketch. But to parody something for ninety minutes, you have to love the subject".
It is hard to fathom that Ferris Bueller’s Day Off is thirty years old. Written and directed by John Hughes, it is one of the seminal comedies of the 1980s – having influenced so many future films that look at the lives of bored yet rambunctious teenagers. Not too long ago, I chatted with MonkeyJunk drummer Matt Sobb. An integral part of the three piece Juno Award winning swamp rock/blues band, the percussionist narrowed his favourite films down to two – strangely enough, both were released in 1986: Stand by Me and Ferris Bueller’s Day Off (which will be discussed here today). Providing me with two very well rounded and in depth answers, check out his response down below by clicking on the video interview. The band has been busy of late, having spent much time on tour throughout Europe and the United States – they are now making their way through Canada just prior to the release of their new album, Time to Roll. Make sure to check them out if you get a chance.
In September we will mark the seventh anniversary of the death of Patrick Swayze. Becoming a powerhouse star of the 1980's and 1990's with classics such as Dirty Dancing, Ghost, Road House, Point Break, among others, the man left an indelible impact on the film industry. So, as a tribute here today, I am going to write about one of his last movie roles that can be found in the small, rarely seen 2005 British comedy Keeping Mum. Directed by Niall Johnson, the story follows a married reverend, Walter Goodfellow, played masterfully by Rowan Atkinson (Mr. Bean), his wife Gloria, Kristin Scott Thomas (The English Patient), and their two children, as their lives become more and more impacted by their new housekeeper Grace, the endearing Dame Maggie Smith (Professor McGonagall from the Harry Potter franchise).