I guess Batman and Catwoman hooked up after all. (via Dangerous Minds.)
Georges Melies — our defending champion — wins spot #2 in the series as well, this time for Le Cauchemar (aka A Nightmare).
It’s not exactly Wes Craven material as the presentation is more humorous than horrific (though Freddy can be a pretty funny dude at times). However, scary movies are so deeply rooted within nightmares that this work by the cinemagician cannot be ignored. It also happens to be highly entertaining and contains excellent stop-motion substitution tricks especially innovative for the time.
Laurel and Hardy were the first double act to gain worldwide fame through film. Together, they made over 100 movies — 32 were silent shorts, 23 were feature-length and contained sound. However, each was already well-established before joining as a duo:
Stanley Arthur “Stan” Jefferson [Laurel] was the older of the two. A music-hall understudy to Charlie Chaplin (pre-Keystone), he appeared in over 50 films. Buster Keaton commented on Laurel’s talent, “Chaplin wasn’t the funniest, I wasn’t the funniest, this man was the funniest.” Below is an early Larry Semon vehicle, Huns and Hyphens, which features a pre-L&H Laurel.
Oliver “Babe” Hardy, affectionately known as Ollie, began his movie career before Laurel, resulting in over 250 films before their team-up. He was from Georgia, my home (and current) state, but I won’t hold that against him. Below is The Servant Girl’s Legacy (dir. Arthur Hotaling), a short from 1914 featuring a 22-year-old Hardy.
I’m including Fox Trot Finesse (dir. Maurice Morris) in this Slapstick Series for 3 reasons:
W.C. Fields (born William Claude Dukenfield) was a comedian, actor, juggler and writer. Despite creating a comic persona as a hard-drinking misanthrope — while publicly expressing his contempt for dogs, women, and children — Fields remained a sympathetic and beloved entertainer.
Here is his first film appearance: 1915’s Pool Sharks, directed by Edwin Middleton for the Gaumont Film Company.
The first time Chaplin donned his “Tramp” costume: Mabel’s Strange Predicament, directed by and starring Mabel Normand. From a 1933 interview, Chaplin recalls The Tramp’s inception:
“I was hurriedly told to put on a funny make-up. This time I went to the wardrobe and got a pair of baggy pants, a tight coat, a small derby hat and a large pair of shoes. I wanted the clothes to be a mass of contradictions, knowing pictorially the figure would be vividly outlined on the screen. To add a comic touch, I wore a small mustache which would not hide my expression. My appearance got an enthusiastic response from everyone, including Mr. Sennett. The clothes seemed to imbue me with the spirit of the character. He actually became a man with a soul – a point of view. I defined to Mr. Sennett the type of person he was. He wears an air of romantic hunger, forever seeking death, but his feet won’t let him.”
Note that this is not the 1st film appearance of The Tramp, based upon release date — Kid Auto Races at Venice was released 2 days earlier (on February 7th, 1914).