This short comedy from Roscoe “Fatty” Arbuckle’s Comique Film Company was released in July, 1918 and co-stars Buster Keaton. Arbuckle is at the center of action, but as usual his collaborators get good opportunities to shine as well.
The movie begins on a rainy street corner, in front of a pharmacy. Arbuckle is standing in the downpour, futilely trying to light a cigarette, and occasionally getting chased off the stoop by the pharmacist. A woman with an umbrella (supposedly Keaton, but we never see her face) is blown down the street and Arbuckle attempts to help her against the storm. In the process, hr umbrella is destroyed and she does several pratfalls. Soon, she returns in the direction she originally came from. Now a drunk (Snitz Edwards) joins Arbuckle on the corner, sitting in the gutter. A policeman walks up, and Arbuckle realizes he should stand up and be nonchalant, trying to signal the drunk to do the same as he again tries to light a match to smoke a cigarette. The policeman sees this and laughs at his attempts. Now a gypsy organ grinder and his assistant walk up, and Fatty gives them a coin and asks for the national anthem. This makes the police officer take off his rain hat and stand at attention, and Arbuckle is able to use its protection to finally light up a cigarette.
Arbuckle takes the gypsies back to his house, where his wife has just read about a new surgical cure for alcoholism, at some place called “No Hope Sanitarium.” When the gypsies’ monkey sneaks into her room, she concludes that Fatty needs to take the cure. The rest of the movie takes place at the Sanitarium, at which point the film’s title finally begins to make sense. As Arbuckle is being taken in, he sees a man covered in bandages (apparently this is Joe Keaton, Buster’s dad) leaving on crutches. Arbuckle stops to sympathize with the man, who assures him he’s fine, now he’s been “cured.” This does little to build Arbuckle’s confidence, but his wife insists on bringing him in. Soon, he meets the doctor in charge of the place (Buster Keaton), who arrives in a smock covered in blood. He also meets the “crazy” girl (Alice Lake) who will serve as his illicit love interest, even while wifey is still around watching. When she jumps into his arms and kisses him, what can he do? After all, she’s crazy.
Arbuckle and Lake soon devise plans to escape, using a massive pillow fight amongst the patients as cover, but as soon as she’s outside, she wants to go back in. Arbuckle hides by jumping into a pond, then sets up a hose to blow air so that it looks like he’s still under when the orderlies come to “rescue” him. Then he spots a large nurse (Kate Bruce) going on her lunch break and decides to swipe her uniform to make an escape. He runs into Keaton in the hallway and the two of them flirt, Keaton obviously convinced that he is a large nurse. Then the real nurse returns and blows his cover. Arbuckle runs out into the countryside, winding up in the midst of a cross-country race, which he inadvertently wins. As he is accepting the prize money, the doctors and orderlies surround him, wrestling him down. Suddenly he wakes up back in the Sanitarium, where he has been given ether; all of his escapes are now revealed to be a dream.
This is yet another movie in which Arbuckle and/or Keaton dress in drag for laughs – both of them in this case, if online sources are right and Keaton is the woman with the umbrella. This scenario somewhat resembles their earlier collaboration, “The Butcher Boy,” where Arbuckle tried to rescue Lake from a boarding school by dressing in drag, but with a much heavier emphasis on Keaton’s character and abilities. The pillow fight sequence reminded me of earlier Edison comedies that relied on this gag for humor and titillation, but note that there was also one in “The Butcher Boy” as well. Keaton’s awkward “flirting” with Fatty has to be seen to be believed, it’s one of the funniest on-screen crushes this side of Elmer Fudd. An odd detail stuck out to me in this movie. In most of the silent comedies, especially the “Keystone Kops” movies, the policemen are funny-looking. The policeman in this film is quite handsome, at least pretty normal by comparison. I think he was probably cast for his height rather than his look. He needed to be tall enough that when he held his hat at his breast, Arbuckle could conveniently get under it to light a cigarette. It’s still remarkable that they didn’t give him a false mustache or bushy eyebrows or something. Maybe they would have fallen off in the rain.
Director: Roscoe “Fatty” Arbuckle
Camera: George Peters
Run Time: 22 Min