The longest, loudest laugh in movie history exploded in theaters all over the world in 1920. That colossal, eruptive, cumulative bellow of laughter closed a two reel silent comedy called HARD LUCK, starring that master of slapstick and deadpan pantomime, Buster Keaton.
An in-depth interview with the great silent film comedian Harold Lloyd (1893 – 1971) accompanied by a seldom seen picture of the man WITHOUT his glasses (he didn’t really need them).
One blogger read the attached article and wrote the following:
I’ve never read this before – it’s great. It’s always good to hear Harold’s own thoughts on his films; I enjoyed his description of the stunt he did in on top of the locomotive at the mouth of an approaching tunnel in the film Now or Never. It’s a spectacularly funny gag, but we sometimes forget the effort that went into these scenes; Harold was one comedy star who was prepared to suffer for his art!
When the Five O’Clock Whistle Blows in Hollywood is attached;
it appeared in VANITY FAIR eight years after Hollywood was declared the film capital of the world.
This single page cartoon was created by one of the great American caricaturists of the Twenties: Ralph Barton, and all the kingpins of the young empire are depicted (among others): Douglas Fairbanks, Marry Pickford, Buster Keaton, Harold Lloyd, Bebe Daniels, Bill Hart, Wallace Reed, Gloria Swanson, Nazimova, Charlie Chaplin, Jackie Coogan, Fatty Arbuckle and the writer Rupert Hughes.
Lording above them all, and represented simply by jodhpurs and riding boots, stands the founder of the feast – Cecil B. DeMille (and his brother).
Attached is a single page cartoon from 1916 that illustrated quite clearly that the relationship between movie fans and their film star magazines have not changed at all during the past ninety years.
The Conde Nast cartoonist Ann Fish wanted her swank readers to know that she was another Brit who recognized the reoccurring formula that young Hollywood relied on all too often and even though the film business was still in it’s infancy, there was such a thing as a typical American movie.
Attached is a Vanity Fair cartoon from the days of silent film illustrating how unsophisticated those movies truly were and how wildly predictable the plots and characters always seemed to be. This cartoon, along with a number similar magazine articles on this site, illustrate that such thinking was not entirely rare.
Here are seven drawings by Henry Raleigh (1880 – 1944) that depict the sorts of silent film characters that were likely to be seen in the 1920s W.W. I movies. These sketches are accompanied by a few dry remarks by the Vanity Fair editors:
No matter how much we may wish to lose sight of the war, it can’t be done. There will always be reminders of it. You suppose that, just because a little thing like peace has been declared, the playwrights, the theatrical managers, and the moving picture producers are going to let a chance like the war get by? Since we have become accustomed to German spies, Red Cross nurse heroines, and motor corps vampires, we could never go back to the prosaic mildness of innocent little country heroines, villains in fur-lined overcoats and cub reporter heroes. No actor will ever again consent to play a society role in evening clothes with flap pockets and jet buttons, when he can appear in a war play wearing an aviator’s uniform and going around in a property airplane.
This 1918 silent movie was certainly mocked for its predictability…
As the rosy fingered dawn came upon America in 1913 it found Douglas Fairbanks, the man who would soon be Silent Hollywood’s fair haired boy, wowing the crowds on Broadway. The play, Hawthorne of the U.S.A., starred Fairbanks in the title roll and closed after 72 performances; he was also married to a woman who wasn’t named Pickford – but rather named Anna Beth Sully, who had sired his namesake. Life was good for the actor and he wouldn’t turn his gaze West for another two years. By contrast, his future bride, Mary Pickford (né Gladys Smith, 1892 – 1979) had been prancing before the cameras since 1909 and by the time 1913 rolled around had appeared in well-over 100 short films and earned the nickname Little Mary.
To be sure, the motion pictures that Hollywood produced during the late teens were very self-conscious, but they were beginning to develop smartness…
Los Angeles and its environs were crowded with new motion picture companies. The American Film Company, the Vitagraph Company, the Universal Company Christie Comedies and Selig found competitors springing up like weeds after rain: the demand for flickers was enjoying its first boom.
