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It’s worth comparing this with the editing of the Keystone comedies, which increased the pace of the shots greatly. What is perhaps most interesting about the film, at least from a formal standpoint, is that it is shot in wide proscenium-style shots that capture the entire scene, which was certainly the prevailing style at the time. The closing “pie-in-the-face” gag is the earliest one I have yet identified in watching many of the early comedies. Flip” is an interesting, early screen comedy, predating the Keystone comedies as well as those of Chaplin. Turpin goes on to flirt with a telephone operator, hair dresser, waitress, and finally a bakery clerk, who throws a pie into Turpin’s face!
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There is an interesting moment of a close-up insert shot when we see the second manicurist inserting the sharp end of the scissors up through the bottom of the chair. Next, he enters a manicurist’s shop, and after flirting with one of the manicurists, the other puts a pair of scissors up through the bottom of his chair, which he sits down on, causing him to jump up in pain and flee the scene. He immediately begins flirting with the female clerk, and she resists his effort until a moving man comes by with a dolly cart which he uses to carry Turpin out of the scene.
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The film opens with Turpin, appearing quite dapper with a boutonniere and straw hat, as he enters a shop. It’s a crude comedy, to be sure, but also possesses a certain charm in its simplicity and good-natured gagging. Flip”, from 1909, in which he plays an obnoxious man who pesters every woman he comes in contact with. He worked as a janitor at the studio as well as performing in comedies. Turpin’s career began at the Essanay studio in Chicago.
LAUREL AND HARDY MOVIES BASEBALL SKIT SERIES
Turpin worked most memorably for Mack Sennett’s studio, where he appeared in a series of parodies of popular dramatic films of the day. He had one of the longest careers of any of the silent clowns, dating back to 1907, and lasting until his death in 1940 (his final appearance was in Laurel and Hardy’s “Saps at Sea”, in which he played the cross-eyed plumber who can’t understand why all of the faucets in Oliver Hardy’s apartment are performing the opposite functions!) Turpin’s star really began to rise after he was paired with Charlie Chaplin in the first two comedies Chaplin made for the Essanay company in 1915. A filmography lists works from 1917 to 1951 with information on availability.Ben Turpin is one of the iconic figures of silent comedy, immediately recognizable by his crossed eyes and brush mustache. The book takes the reader through the ups and downs of their careers and to a final comeback. It was only when they began to work for large studios, churning out cookie-cutter scripts, that their art began to lose its way. Further chapters explore the slapstick and gags of Laurel and Hardy and how the pair survived the transition to sound that left behind many actors of the day. A chapter is dedicated to each of “the boys”-Laurel from Ulverston, England, and Hardy from the state of Georgia-as a person and performer. The book begins by exploring their comedy in the early days of film. The lanky Stan Laurel (1890–1965) and portly Ollie Hardy (1892–1957) had but one objective: to create as many laughs as would fit in one short film. They gave us something to laugh at by reminding us of our own foibles, in a way that was genuine and unpretentious. Some seventy years after their heyday, Arthur Stanley Jefferson and Oliver Norvell “Babe” Hardy are still remembered for the comic chaos they created in film shorts. From the early days of film came Laurel and Hardy, a comedy team that created slapstick hilarity from life’s simplest situations.