Century Film Project

Celebrating the movies our ancestors loved

Tag: Alice Howell

Shot in the Excitement (1914)

This short comedy from Keystone stars Al St. John in an a-typical sympathetic role and uses a familiar story of two country bumpkins vying for the interests of one girl, but escalates to extreme speed and violence before the end. A rather unusual entry in Keystone’s catalog, this holds up in interesting ways today.

The film begins by introducing “the Daughter” (Alice Howell), who is busy whitewashing a fence with her father (Josef Swickard). We then see Al, introduced as “A Suitor” by the intertitles, and carrying a small gift. She eagerly abandons her work to rush over and see him, just as a second suitor (Rube Miller, who is also credited as director) walks up with a small bouquet of flowers for her. He is on the wrong side of the fence, however, and gets an eyeful of whitewash from the father when he tries peeking through a knothole. He then locates Alice and Al, and decides to frighten them by dangling a rubber spider overhead. They interrupt their smooching in shock, but then Al pokes his finger through another knothole, once again getting Rube in the eye. When he tries sticking his finger through, Alice grabs it and bites it, holding him in place long enough for Al to drop a rock on his head. Rube tries throwing a bigger rock over the fence, but winds up hitting Alice, of course. Rube now climbs over the fence and starts fighting with Al, in the process hitting both Alice and her father. The father chases Rube up a ladder and onto a rooftop, where he tries again to hit Al by throwing rainwater and other found objects, but never manages to hit his actual target. Al finds a shotgun and tries to shoot Rube, but only hits the father’s backside, knocking him off the roof. Dad now shoots Rube off the roof, throwing both boys off his property and telling them to keep away from his daughter.

Dejected, Al and Rube head to a nearby park. Al finds a park bench, where he could have a rendezvous with Alice, and Rube finds an old cannon, conveniently pointed at the park bench. He gets some gunpowder together and loads it up, then sets up an elaborate booby trap, placing a triggering device beneath the legs of the bench, so that the cannon will fire when Al sits down. He sends a confederate to give Al a note, ostensibly from Alice, telling him to meet her at the bench. There is a bit of comedic tension, as it looks like Al will sit several times while examining the note, but suddenly Alice walks up and distracts him. Now Rube, concerned that she will sit in the “hot” seat, intervenes, but Al quickly kicks him away. They fight while Alice cheers, until Al knocks Rube out with a rock, causing him to fall back on the bench. The cannonball flies over him and knocks over a couple of nearby Keystone Kops, then flies past Alice and starts chasing her father. Rube manages to launch a second cannonball, which now pursues Al and Alice. Now the Kops come over to arrest him and a wild three-way chase ensues, ending with Rube falling down a cliff, being arrested and everyone being knocked down when the cannonballs finally explode against the cliffside.

The most exciting part of this movie is the chase sequence at the end, which is worthy of a Road Runner cartoon for its silliness and implied violence. The editing between three simultaneous, inter-locked chases works perfectly to ramp of the crescendo of chaotic wildness. Everyone falls over several times. Cannonballs turn around and change direction in order to pursue their quarry. Alice and Al refuse to let go of one another. I would bet that in a theater, this last two and a half minutes would have people laughing so hard their sides hurt. The characterizations are interesting also. Rube’s character reminds me of Al in “Mabel and Fatty Adrift,” although he seems not to want to extend his revenge to killing Alice, she is just collateral damage in trying to take out Al. Al’s character is more like the sort of thing his cousin Roscoe “Fatty” Arbuckle would specialize in, except Al’s more frenetic in his amorous intentions. Alice Howell is the big success – a somewhat “funny-looking” girl, she is part of the joke as we wonder how desperate these two yokels must be to fight over her. And she is great with the falls, hits, and other physicality. While some people may be put off by the cartoon violence, for my money, this is one of the funnier Keystone comedies.

Director: Rube Miller

Camera: Unknown

Starring: Al St. John, Alice Howell, Rube Miller, Josef Swickard

Run Time: 12 Min

You can watch it for free: here.

The Great Toe Mystery (1914)

This short comedy from Keystone Studios seems to play upon themes established 11 years earlier in “The Gay Shoe Clerk,” but with a touch of Mack Sennett’s chaotic style thrown in for flavor. It still looks a bit old-fashioned for 1914, possibly deliberately so.

The movie begins with an establishing shot outside of a shoe store. A young lady (Alice Howell) and a man with a silly mustache are standing in front, and he takes her by the arm and leads her inside. We now cut to the interior, where a thin, slightly foppish young man speaks to them. Evidently the first man is buying shoes for himself and his wife. The first shoe clerk summons another over to see to the gentleman, and he leads the lady to the other side of the store, where she sits while the salesman summons another clerk (Charley Chase), this one being flamboyant and feminine in his gestures. She offers him her foot to measure, but he reacts in melodramatic horror to see her toes peeking through the end of a torn stocking. He seems to be lecturing her on hygiene, and she reacts by looking away from him. The husband sees this, and comes over to glare at the clerk. He runs to the back, to get her shoes ready for sale, and decides to put a note in her shoes. He borrows a pen and paper from a female coworker, and then delivers the shoebox to the clearly annoyed lady customer. She and the husband exit the store, evidently arguing about the clerk’s unwanted attentions. They go in separate directions.

The wife returns home (“broken-hearted,” according to an intertitle) and commiserates with her maid (Dixie Chene). She takes a magazine outside to read, discarding the unlucky shoes unopened. Meanwhile, “Mr. Birdie” (the clerk) is now going to the park to for what he hopes to be a rendezvous with a married woman. Of course, he encounters Alice on a park bench, sobbing because of the fight with her husband, and sits next to her, oblivious to her feelings. Now the husband comes home and finds the discarded shoes with the note, vowing to murder the clerk (whom he de-genders as “it” in the intertitles) if he finds them together. The maid is meanwhile flirting with a rather dim-witted young man (possibly a delivery boy, from his attire, or else another servant like a gardener), to the husband’s decided disapproval. The husband rushes out to the park and finds the two of them together, making threatening gestures that the clerk laughs off until he produces a gun and starts shooting at the ground.

Now, a classic Keystone chase begins, and the wife and the maid rapidly enlist the aid of Keystone Kops. Of course, the clerk decides to hide in a chest that the dim-looking servant brings into the house, so now he has no possibility of escape. A comedy routine involves the many steps the servant has to go up (and frequently falls back down) while carrying the chest and tension is held as several people start to open the chest before being distracted by something else. Ultimately, the maid finds him and the chase begins anew, with Birdie hiding in the dumbwaiter, unable to find an unoccupied room to escape into. The Kops now arrive in force, and begin shooting at the servant, not evidently knowing who they are after or why. He hides under the sink, which the Kops promptly shoot full of holes. Finally, the clerk manages to fight everyone off with his handkerchief, knocking over the whole cast, and, snapping his fingers, leaves the house with a rude gesture.

Charley Chase’s performance really makes this movie something special, and it’s very hard for a modern audience not to read his gestures and body language as queer – something which quite possibly could have been intentional on his part, whether or not audiences of 1914 were sophisticated enough to get the joke. That makes it twice as funny that the title of the obvious inspiration of “The Gay Shoe Clerk” had a different meaning at the time. It also struck me with this viewing that the title’s similarity to the other 1903 hit “The Great Train Robbery” (itself basically a well-edited chase movie) might have been intentional as well, meaning that Sennett was lampooning Edison in more than one way here. The editing of this movie keeps it moving effectively, and all of the random elements work together well, with the absurdity of the situation constantly growing, but without giving the audience too much time to reflect on how silly it all is. This is one of the more fun Keystones I’ve seen, in fact and it holds up well enough today.

Director: Charles Avery

Camera: Unknown

Starring: Charley Chase, Alice Howell, Dixie Chene, Chester Conklin, Harry McCoy, Rube Miller

Run Time: 11 Min, 8 secs

You can watch it for free: here.

Laughing Gas (1914)

Laughing Gas

This is another of Charlie Chaplin’s Keystone comedies, which he directed in the Summer of 1914. The premise is that he is a dentist’s assistant and causes all kinds of mayhem with the patients, the dentist himself (Fritz Schade, also in “His Musical Career” and “Dough and Dynamite”), and the dentist’s wife (Alice Howell, from “Caught in the Rain” and “The Knockout”). The ubiquitous Mack Swain (who was also in “Caught in the Rain” and would co-star in “The Gold Rush”) turns up as one of the patients. Charlie’s character is, if anything, less likeable here than in movies such as “Mabel at the Wheel” and “Tillie’s Punctured Romance” where he played an explicit villain. His objective most of the time seems to be to cause pain and start fights, when he isn’t masquerading as a dentist in order to hit on a pretty girl. He also appears to take pleasure in dosing people heavily with the titular gas. Most of the movie is nonstop chaos, though, and it can’t be denied that it keeps up its frenetic pace and provides laughs with its cartoon-violence.

Alternate Titles: “Busy Little Dentist,” “Down an Out,” “Laffing Gas,” “The Dentist,” and “Turning His Ivories.”

Director: Charlie Chaplin

Camera: Frank D. Williams

Starring: Charlie Chaplin, Fritz Schade, Alice Howell, Mack Swain

Run Time: 13 Min

You can watch it for free: here.

Caught in the Rain (1914)

Caught_in_the_Rain

Charlie Chaplin teamed up with the Keystone Kops for this simple Keystone comedy in May of 1914, assuring that it would have the key elements of “a girl, a park and a policeman.” In this case, it also has two of Chaplin’s better foils, Mack Swain (most famously co-starring in “The Gold Rush” and also in “Tillie’s Punctured Romance”) and Alice Davenport (also in “The Star Boarder” and “The Property Man” in 1914). Here, they are a married couple who Chaplin meets in the park, attempting in his drunkenly naïve way to flirt with the wife before being driven off by the husband. In a typically Keystone coincidence, Charlie winds up in the same hotel, and the wife’s problem of sleepwalking leads to further problems before Charlie finds himself soaked in his pajamas during a rainstorm. His drunk act is the real hit of the show, particularly his difficulty ascending the stairs to his hotel room. This was actually the first movie in which Chaplin directed himself, reputedly because Mabel Normand now refused to work with him while Mack Sennett couldn’t afford to fire him. There’s nothing outstanding in the direction here, but clearly in the roughly four months that he’d worked at Keystone, Chaplin picked up the essentials of running a taut comedy with multiple screens interacting to heighten mayhem.

Caught_in_the_Rain1

Director: Charlie Chaplin

Camera: Frank D. Williams

Starring: Charlie Chaplin, Mack Swain, Alice Davenport, Alice Howell

Run Time: 16 Min

You can watch it for free: here.