1 00:00:13,000 --> 00:00:16,000 Turn back with us now, turn back to a time 2 00:00:16,000 --> 00:00:18,000 when the movies were much younger 3 00:00:18,000 --> 00:00:22,400 and like all youthful things full of fun and high spirits. 4 00:00:22,400 --> 00:00:26,200 Down that long dusty road the clowns are coming, 5 00:00:26,200 --> 00:00:29,400 the great voiceless, irreplaceable clowns who 6 00:00:29,400 --> 00:00:32,000 rock the world with laughter. 7 00:00:32,000 --> 00:00:33,600 Most of them are gone but they 8 00:00:33,600 --> 00:00:36,200 have left their shadows behind. 9 00:00:36,200 --> 00:00:39,000 So come back with us now, come back to that time 10 00:00:39,000 --> 00:00:42,600 of wonderful nonsense called the Roaring '20s. 11 00:00:42,600 --> 00:00:45,600 Come back to the Golden Age of Comedy. 12 00:02:23,000 --> 00:02:26,200 Behind that curtain the world is 30 years younger 13 00:02:26,200 --> 00:02:30,400 and an unsmiling king presides over his loony domain. 14 00:02:30,400 --> 00:02:33,200 A rugged gray maned king, who has already ridden 15 00:02:33,200 --> 00:02:35,600 the escalator of success from boiler maker 16 00:02:35,600 --> 00:02:38,600 to chief of the first laugh factory. 17 00:02:38,600 --> 00:02:42,800 The father of American screen comedy Max Sennett. 18 00:02:42,800 --> 00:02:45,800 In 1924 when these only slightly exaggerated scenes 19 00:02:45,800 --> 00:02:48,600 were taken the Sennett Studios were already in their 20 00:02:48,600 --> 00:02:51,200 second decade of inspired madness. 21 00:02:51,200 --> 00:02:54,000 Their specialty was the delightfully improbable, 22 00:02:54,000 --> 00:02:56,600 like this lion in the office. 23 00:02:56,600 --> 00:02:58,800 Their gags were completely visual, 24 00:02:58,800 --> 00:03:02,200 a form of wit that has all but disappeared from the land. 25 00:03:02,200 --> 00:03:04,400 But one which experts now agree is perhaps 26 00:03:04,400 --> 00:03:08,000 the most imaginative and enduring comedy of all. 27 00:03:08,000 --> 00:03:11,000 The lion has fled the scene and the king himself 28 00:03:11,000 --> 00:03:14,400 has long since retired, but movie fans still fondly 29 00:03:14,400 --> 00:03:17,800 remember such daring innovations as the Max Sennett 30 00:03:17,800 --> 00:03:21,000 Bathing Beauties in whose rants many a star was born, 31 00:03:21,000 --> 00:03:24,000 and who did so much to liberate the American woman 32 00:03:24,000 --> 00:03:27,200 from the Mother Hubbard bathing suits. 33 00:03:32,000 --> 00:03:34,400 Sennett Studies were place of wonderful illusion, 34 00:03:34,400 --> 00:03:37,000 where a daring rider could gallop out of the west 35 00:03:37,000 --> 00:03:40,800 without moving as much as an inch on the old back lot. 36 00:03:40,800 --> 00:03:43,200 Indeed without evening bothering about a horse. 37 00:03:43,200 --> 00:03:46,400 And far from trying to hide their bag of tricks 38 00:03:46,400 --> 00:03:50,600 the Sennett technicians made them part of the comedy. 39 00:03:58,800 --> 00:04:02,200 Pride of the lot was the only revolving stage in Hollywood, 40 00:04:02,200 --> 00:04:04,800 a monstrous merry-go-round and treadmill, 41 00:04:04,800 --> 00:04:07,600 which kept the scenery moving behind the comedian. 42 00:04:07,600 --> 00:04:10,200 Hurricane gusts from the wind machine sent bits 43 00:04:10,200 --> 00:04:13,000 of paper flying past the camera to help create 44 00:04:13,000 --> 00:04:16,600 the appearance of swift and violent motion. 45 00:04:22,600 --> 00:04:26,200 The director is Vernon Dent, the dapper man about 46 00:04:26,200 --> 00:04:29,400 the stages with the roving eye is Charlie Murray. 47 00:04:29,400 --> 00:04:32,800 But in Sennett comedies the pursuit of beauty was often 48 00:04:32,800 --> 00:04:35,800 interrupted by the appearance of the pursuers wife, 49 00:04:35,800 --> 00:04:38,800 usually played by Louise Carver. 50 00:04:38,800 --> 00:04:41,800 The result with a busy studio itself as a backdrop 51 00:04:41,800 --> 00:04:45,000 is the kind of slapstick which proves that motion pictures 52 00:04:45,000 --> 00:04:49,200 are meant to move and that action speaks louder than words. 53 00:05:35,600 --> 00:05:38,600 Now Sennett kids one of his own money saving customs, 54 00:05:38,600 --> 00:05:40,200 stealing shots of actual happenings 55 00:05:40,200 --> 00:05:41,800 to cut into his comedies. 56 00:05:41,800 --> 00:05:45,000 Get a load of that peekaboo lens. 57 00:06:00,400 --> 00:06:02,200 It was perfectly natural for the camera 58 00:06:02,200 --> 00:06:04,200 to doze off with the cameraman. 59 00:06:04,200 --> 00:06:06,000 And who could deny such things might really 60 00:06:06,000 --> 00:06:10,200 happen when they happened right before your eyes. 61 00:06:12,000 --> 00:06:14,600 On the firing line the neighborhood youngster, 62 00:06:14,600 --> 00:06:17,600 on the receiving end, Charlie Murray. 63 00:06:21,000 --> 00:06:23,600 Sennett gags were created by the maddest squad 64 00:06:23,600 --> 00:06:26,200 of gag men in entertainment history. 65 00:06:26,200 --> 00:06:28,600 Each day they were locked collectively into a 66 00:06:28,600 --> 00:06:31,200 penthouse office, deprived of heavy food 67 00:06:31,200 --> 00:06:33,600 and strong drink and guarded, cajoled 68 00:06:33,600 --> 00:06:37,000 and brow beaten by the old master himself. 69 00:06:37,000 --> 00:06:39,600 Here selected from the output of a decade 70 00:06:39,600 --> 00:06:41,000 are some of the results. 71 00:06:41,000 --> 00:06:44,000 In "The Hollywood Kid" Charlie Murray, having failed 72 00:06:44,000 --> 00:06:46,800 to obtain a confession from the small fry is forced 73 00:06:46,800 --> 00:06:49,800 to spank them all, well almost all. 74 00:06:54,400 --> 00:06:57,000 In "Wandering Willies" Billy Bevan innocently 75 00:06:57,000 --> 00:07:00,000 prepares to enjoy a delicious bowl of oyster stew 76 00:07:00,000 --> 00:07:04,600 and ends up in a desperate battle with a wild oyster. 77 00:07:40,400 --> 00:07:43,400 In "Muscle-Bound Music" in a memorable boarding house 78 00:07:43,400 --> 00:07:45,800 concert Billy Bevan and Davy Morris 79 00:07:45,800 --> 00:07:49,000 combine rock'n'roll with rippin' tares. 80 00:08:37,000 --> 00:08:40,200 In "Wall Street Blues" dashing Billy Bevan seems 81 00:08:40,200 --> 00:08:43,000 to heed the call of the open road but alas 82 00:08:43,000 --> 00:08:46,400 fates fickle finger has flicked him into a different role, 83 00:08:46,400 --> 00:08:48,000 the office janitor. 84 00:08:51,000 --> 00:08:53,600 Billy's boss is Andy Clyde, who took a boomer 85 00:08:53,600 --> 00:08:57,800 in bloomers just when the girl started wearing slacks. 86 00:08:57,800 --> 00:09:01,400 Meanwhile Billy is cleaning up with his new super powered 87 00:09:01,400 --> 00:09:04,600 torpedo vacuum cleaner, originally designed to 88 00:09:04,600 --> 00:09:08,400 pick fat ladies off massage tables. 89 00:09:55,600 --> 00:09:58,800 With each tick of the ticker Andy gets sicker, 90 00:09:58,800 --> 00:10:01,400 now in comes a slicker. 91 00:10:01,400 --> 00:10:04,800 Soft hearted Jack Richardson and his toddy Vernon Dent 92 00:10:04,800 --> 00:10:07,400 watch Andy play with a poison bottle, 93 00:10:07,400 --> 00:10:09,200 and make side bets as to how long 94 00:10:09,200 --> 00:10:11,600 it will take him to take it. 95 00:10:16,200 --> 00:10:18,200 Well that kills that bet. 96 00:10:22,800 --> 00:10:25,600 In pops another well wisher, Edgar Kennedy, 97 00:10:25,600 --> 00:10:28,400 one of the seven original Keystone Cops. 98 00:10:28,400 --> 00:10:30,000 Later to win fame and fortune 99 00:10:30,000 --> 00:10:32,400 as a master of the slow burn. 100 00:10:33,600 --> 00:10:35,400 It's a stick up. 101 00:10:35,400 --> 00:10:38,200 Billy is marched in and soft hearted Jack makes 102 00:10:38,200 --> 00:10:41,800 tracks for outer space, a perfect escape, 103 00:10:41,800 --> 00:10:45,400 except for one small miscalculation. 104 00:10:45,400 --> 00:10:48,600 Jack forgot they were on the 20th floor. 105 00:10:54,200 --> 00:10:57,200 Vernon is reminded of his mother's advice, 106 00:10:57,200 --> 00:11:00,600 if you have a bad companion, drop him. 107 00:11:18,400 --> 00:11:21,800 In "Circus Today" the background is the tent show circus, 108 00:11:21,800 --> 00:11:24,200 which like comedy itself has almost vanished 109 00:11:24,200 --> 00:11:26,200 from the American scene. 110 00:11:28,400 --> 00:11:31,000 Billy Bevan plays a dimwitted daredevil in the 111 00:11:31,000 --> 00:11:33,800 pudgy clutches of Kewpie Morgan. 112 00:11:33,800 --> 00:11:35,600 The stunt for this afternoon is a low dive 113 00:11:35,600 --> 00:11:38,200 into a trial size swimming pool. 114 00:11:38,200 --> 00:11:40,800 It's a cinch thinks Billy but he doesn't reckon 115 00:11:40,800 --> 00:11:44,600 with the calamitous cupidity of the callous Kewpie. 116 00:11:44,600 --> 00:11:46,800 Basking in the spotlight the blindfolded Billy 117 00:11:46,800 --> 00:11:51,600 is ready to go, but Kewpie has to make one minor adjustment. 118 00:12:24,200 --> 00:12:26,400 Now Kewpie's mad because Billy busted 119 00:12:26,400 --> 00:12:28,600 his brand new swimming pool. 120 00:12:28,600 --> 00:12:32,000 So Kewpie runs after Billy, Billy's pal the elephant 121 00:12:32,000 --> 00:12:35,200 runs after Kewpie and in a few split seconds 122 00:12:35,200 --> 00:12:38,800 we're off with chariots, circus wagons, charging horses, 123 00:12:38,800 --> 00:12:42,400 toppling acrobats, panting pachyderms and roaring lions 124 00:12:42,400 --> 00:12:45,400 on one of those crazy careening pursuits which became 125 00:12:45,400 --> 00:12:50,000 a trademark of the Golden Age of Comedy, the chase. 126 00:14:41,800 --> 00:14:43,600 In the Max Sennett comedies extra's had 127 00:14:43,600 --> 00:14:46,000 to know how to take it. 128 00:15:00,600 --> 00:15:02,800 Madam Stella, the circus queen is dressing 129 00:15:02,800 --> 00:15:07,000 for the matinee when her maid suddenly gives notice. 130 00:15:09,800 --> 00:15:11,800 "Marie!", calls Madam Stella. 131 00:15:11,800 --> 00:15:13,800 "Come powder my back." 132 00:15:18,800 --> 00:15:21,000 "My Marie, you're rough." 133 00:15:26,000 --> 00:15:28,200 This plucky young actress giving a perfectly 134 00:15:28,200 --> 00:15:30,800 controlled performance with a lion as her costar 135 00:15:30,800 --> 00:15:34,000 is Madeline Hurlock, who was later to marry the 136 00:15:34,000 --> 00:15:38,000 Pulitzer Prize playwright Robert Emmet Sherwood. 137 00:15:52,200 --> 00:15:54,000 So long Mrs Sherwood. 138 00:16:06,400 --> 00:16:08,800 Max Sennett's arch rival was Hal Roach, 139 00:16:08,800 --> 00:16:11,800 who late in the '20s unveiled an immortal team, 140 00:16:11,800 --> 00:16:14,400 Stan Laurel and Oliver Hardy. 141 00:16:14,400 --> 00:16:17,200 Ironically as individual comedians Laurel and Hardy 142 00:16:17,200 --> 00:16:20,000 had been around since the movie's early days. 143 00:16:20,000 --> 00:16:22,800 Laurel had once starred but had been reduced to featured 144 00:16:22,800 --> 00:16:27,200 player, Hardy had never risen above supporting roles. 145 00:16:27,200 --> 00:16:30,800 Then in 1927 they were accidentally paired and almost 146 00:16:30,800 --> 00:16:35,400 overnight became the movie's most popular comedy team. 147 00:16:35,400 --> 00:16:38,000 Stan and Oliver were never to find much favor 148 00:16:38,000 --> 00:16:41,400 with the critics but the public loved them. 149 00:16:41,400 --> 00:16:44,400 When they performed an act as simple as climbing a pole 150 00:16:44,400 --> 00:16:46,200 to read a street sign in the dark 151 00:16:46,200 --> 00:16:50,200 gales of laughter swept round the world. 152 00:17:33,800 --> 00:17:35,200 Not before or since has anyone 153 00:17:35,200 --> 00:17:38,000 scaled a wall like Oliver Hardy. 154 00:17:59,200 --> 00:18:01,200 "The Second Hundred Years" in which they played 155 00:18:01,200 --> 00:18:04,000 jailbirds with a long time to roost was one of the 156 00:18:04,000 --> 00:18:06,800 earliest of the Laurel and Hardy comedies. 157 00:18:06,800 --> 00:18:09,400 Hardy had not as yet quite acquired the full 158 00:18:09,400 --> 00:18:13,800 roundness of physic that was to characterize him later. 159 00:18:29,200 --> 00:18:31,600 A couple of visiting painters knock off for lunch 160 00:18:31,600 --> 00:18:34,800 and an idea creeps into Laurel and Hardy's minds. 161 00:18:34,800 --> 00:18:37,000 They'll turn their coats, swipe the brushes 162 00:18:37,000 --> 00:18:39,000 and pretend their painters too, 163 00:18:39,000 --> 00:18:43,600 before the guards discover they're gone, gone, gone. 164 00:18:53,200 --> 00:18:55,800 Just as freedom seems completely within their grasp 165 00:18:55,800 --> 00:19:00,000 Stan and Oliver become aware of a pair of suspicious eyes. 166 00:19:00,000 --> 00:19:03,400 The chips are down, their futures hang in the balance. 167 00:19:03,400 --> 00:19:05,400 They must prove that they're really painters 168 00:19:05,400 --> 00:19:07,200 and prove it they do. 169 00:20:51,000 --> 00:20:53,400 In "We Slip Up" Laurel and Hardy starred as 170 00:20:53,400 --> 00:20:55,600 hen pecked husbands making an elaborate 171 00:20:55,600 --> 00:20:58,400 withdrawal from their suspicious wives. 172 00:20:58,400 --> 00:21:01,000 The boys have just explained that they're merely 173 00:21:01,000 --> 00:21:03,800 going to the picture show and of course the wives 174 00:21:03,800 --> 00:21:06,000 believe their every word. 175 00:21:07,000 --> 00:21:10,200 Downtown two young ladies are getting a shoe shine when 176 00:21:10,200 --> 00:21:14,000 fate and an electric fan blow them into a great adventure. 177 00:21:14,000 --> 00:21:16,600 No bonnet remains under a car for long, 178 00:21:16,600 --> 00:21:20,400 not with gallant Oliver there to retrieve it. 179 00:21:37,800 --> 00:21:40,000 Naturally it was no more than hospitable for 180 00:21:40,000 --> 00:21:42,800 the girls to invite the boys up to dry up 181 00:21:42,800 --> 00:21:45,600 and in these cozy surroundings the spirit of 182 00:21:45,600 --> 00:21:49,400 fun playfully raises its tousled head. 183 00:22:15,400 --> 00:22:18,600 Go on there Hardy, be bohemian. 184 00:22:29,400 --> 00:22:31,600 Olive is soothing his ruffled hostess when, 185 00:22:31,600 --> 00:22:34,600 you guessed it, in pops her boyfriend, 186 00:22:34,600 --> 00:22:38,800 an unforgiving character named Nasty Nate. 187 00:22:58,000 --> 00:23:00,800 In this emotion charged moment who should come prancing 188 00:23:00,800 --> 00:23:05,400 down the street but those human bloodhounds, the wives. 189 00:23:41,200 --> 00:23:43,800 "The Battle of the Century" demonstrated a rule of 190 00:23:43,800 --> 00:23:46,600 natural science, if someone slips. 191 00:23:59,000 --> 00:24:01,600 The pie in the face had been originated by Max Sennett 192 00:24:01,600 --> 00:24:04,400 in the earliest days of his keystone comedies. 193 00:24:04,400 --> 00:24:06,600 By 1928, when this film was made, 194 00:24:06,600 --> 00:24:08,800 produced a pie throwing. 195 00:24:46,800 --> 00:24:50,400 Musicians decked out like the spirit of '76 196 00:24:50,400 --> 00:24:52,800 pipe and drum a congressional candidate into the kind of 197 00:24:52,800 --> 00:24:56,000 dusty, sleepy, Midwestern town that has totally 198 00:24:56,000 --> 00:25:00,000 disappeared since these scenes were some 35 years ago. 199 00:25:01,000 --> 00:25:04,200 Here satirizing a backwoods campaigner is a man of 200 00:25:04,200 --> 00:25:08,000 a type that has alas all but disappeared as well, 201 00:25:08,000 --> 00:25:11,800 the cowboy who grew into an actor, humorist and philosopher 202 00:25:11,800 --> 00:25:16,000 and who became at last an American legend, Will Rogers. 203 00:25:17,600 --> 00:25:20,400 In this period Will was still fresh from his triumphs 204 00:25:20,400 --> 00:25:23,200 in the "Ziegfeld Follies", he kidded congressmen, 205 00:25:23,200 --> 00:25:26,600 presidents and kings and never offended a soul. 206 00:25:26,600 --> 00:25:29,000 His wit contained no insult or malice, 207 00:25:29,000 --> 00:25:32,600 yet it dissolved pretension with the cold light of logic 208 00:25:32,600 --> 00:25:36,400 and in its simplicity spoke the language of all. 209 00:25:41,400 --> 00:25:45,200 In a Hal Roach comedy of 1923 called "Uncensored Movies" 210 00:25:45,200 --> 00:25:49,000 Will Rogers portrayed a small time lecturer exposing 211 00:25:49,000 --> 00:25:52,000 the behind the scenes secrets of Hollywood before 212 00:25:52,000 --> 00:25:54,000 a popeyed gullible audience in some 213 00:25:54,000 --> 00:25:56,200 remote and forgotten hamlet. 214 00:25:56,200 --> 00:25:58,400 This give Will a wonderful opportunity to 215 00:25:58,400 --> 00:26:01,400 parody the biggest stars of the far off time 216 00:26:01,400 --> 00:26:05,400 and the most successful of then current pictures. 217 00:26:07,200 --> 00:26:09,600 Smack into Sherwood Forest jumps Robin Hood, 218 00:26:09,600 --> 00:26:11,800 as played by the immortal Douglas Fairbanks, 219 00:26:11,800 --> 00:26:14,600 whose played in turn by the immortal Will. 220 00:26:14,600 --> 00:26:16,600 The Fairbanks version of Robin Hood was sweeping the 221 00:26:16,600 --> 00:26:20,800 country and crowds everywhere laughed at this timely spoof. 222 00:26:20,800 --> 00:26:22,600 But no one laughed louder than Will Rogers' 223 00:26:22,600 --> 00:26:25,800 good friend Douglas Fairbanks himself. 224 00:26:58,000 --> 00:27:00,200 The merry men dance back into the forest 225 00:27:00,200 --> 00:27:04,000 and for the intrepid Robin game to the heartstrings, 226 00:27:04,000 --> 00:27:06,600 only one stunt remains, getting out of his 227 00:27:06,600 --> 00:27:10,200 safety belt and down from that big bad tree. 228 00:27:10,200 --> 00:27:13,000 In reality of course Fairbanks was a great athlete and 229 00:27:13,000 --> 00:27:16,400 Rogers, the ex cowboy, was a pretty fair acrobat himself. 230 00:27:16,400 --> 00:27:20,600 But that just made this little scene all the funnier. 231 00:27:24,000 --> 00:27:26,800 In the '20s a wide brimmed hat and checkered shirt 232 00:27:26,800 --> 00:27:29,800 meant Tom Mix, a misunderstood hero who was forever 233 00:27:29,800 --> 00:27:32,800 being chased by the Sheriff's posse. 234 00:27:32,800 --> 00:27:36,600 Tom was brave, nonchalant, true blue 235 00:27:36,600 --> 00:27:39,800 and, oh yes, game to the heartstrings. 236 00:27:52,400 --> 00:27:54,400 The occasional blemishes on the screen during 237 00:27:54,400 --> 00:27:57,200 this short sequence are not spots before your eyes, 238 00:27:57,200 --> 00:28:00,000 the original negative of this 35 year old classic 239 00:28:00,000 --> 00:28:03,200 was already partially decomposed when it was reprinted. 240 00:28:03,200 --> 00:28:05,600 To preserve for posterity what is probably 241 00:28:05,600 --> 00:28:08,000 the last existing record of Will Roger's 242 00:28:08,000 --> 00:28:11,200 considerable prowess as a trick rider. 243 00:28:27,200 --> 00:28:29,200 Tom Mix swings this away. 244 00:28:30,600 --> 00:28:34,000 The posse swings that a way and heads for 245 00:28:34,000 --> 00:28:37,200 Crouse Myers Canyon, the bottom of it. 246 00:28:40,000 --> 00:28:43,200 At this point Tom would have ridden into the sunset, 247 00:28:43,200 --> 00:28:47,000 if it hadn't been the middle of the afternoon. 248 00:28:48,200 --> 00:28:50,600 Behind that wall of feet lurks Will Rogers 249 00:28:50,600 --> 00:28:54,200 as Ford Sterling, chief of the original Keystone Cops. 250 00:28:54,200 --> 00:28:57,400 While law and order snooze Metaphor the maid is 251 00:28:57,400 --> 00:28:59,800 reading Three Weeks when Mad Morris puts 252 00:28:59,800 --> 00:29:02,600 the snatch on her purse. 253 00:29:02,600 --> 00:29:04,400 In those days you hired a nursemaid to tickle 254 00:29:04,400 --> 00:29:06,800 and a dog to mind the baby. 255 00:29:17,000 --> 00:29:18,600 Mad Morris is gaining so Metaphor 256 00:29:18,600 --> 00:29:21,200 puts in a call to the police. 257 00:29:21,200 --> 00:29:23,200 To pad his part the old time comedian could 258 00:29:23,200 --> 00:29:25,000 produce a whole dictionary of motions 259 00:29:25,000 --> 00:29:27,200 just to answer the phone. 260 00:29:37,200 --> 00:29:40,200 Here in reasonable facsimile come the Keystone Cops, 261 00:29:40,200 --> 00:29:43,000 led by their intrepid commander brave, swift 262 00:29:43,000 --> 00:29:47,600 and gallant and you named it, game to the heartstrings. 263 00:29:47,600 --> 00:29:49,400 In this little episode we come full circle 264 00:29:49,400 --> 00:29:52,800 as Rogers kids Sterling, Roach kids Sennett 265 00:29:52,800 --> 00:29:54,800 and comedy kids comedy. 266 00:30:19,600 --> 00:30:22,000 When the Keystone Cops were on the loose 267 00:30:22,000 --> 00:30:26,800 it was no fit time for man, beast or bakery shop. 268 00:30:58,200 --> 00:31:01,000 The plot thickens as it develops that Mad Morris 269 00:31:01,000 --> 00:31:05,200 is the ringleader of a band of desperate Tin Lizzies. 270 00:31:17,400 --> 00:31:20,200 The Lizzies wheel about, in a twinkling the pursuers 271 00:31:20,200 --> 00:31:24,200 become the pursued and across a forlorn forgotten field 272 00:31:24,200 --> 00:31:28,400 on a day so long ago Will Rogers runs away into memory. 273 00:31:46,000 --> 00:31:48,800 Out trots the track team of fair Sunnydale College 274 00:31:48,800 --> 00:31:52,200 and in the ranks a girl not to be forgotten, 275 00:31:52,200 --> 00:31:55,800 one destined for stardom, Carol Lombard. 276 00:31:55,800 --> 00:31:57,600 Carol would rather powder than train 277 00:31:57,600 --> 00:32:00,600 and this disturbs her coach Daphne Pollard. 278 00:32:00,600 --> 00:32:03,000 College films were popular in the '20s, 279 00:32:03,000 --> 00:32:07,200 when everybody from baby to grandpop wanted to collegiate. 280 00:32:13,400 --> 00:32:16,200 The big race is announced, proud Sunnydale's hopes 281 00:32:16,200 --> 00:32:17,800 are pinned on Carol. 282 00:32:17,800 --> 00:32:21,000 Daphne holds aloft the starting gun. 283 00:32:31,000 --> 00:32:33,800 It was a clean start, Carol running easily 284 00:32:33,800 --> 00:32:37,800 forges to the head of this tight pack of 18 year olds. 285 00:32:37,800 --> 00:32:41,400 Fanny brings up the rear, Carol seems to have it won, 286 00:32:41,400 --> 00:32:44,600 but wait, she's pausing, breaking stride. 287 00:32:44,600 --> 00:32:47,000 Muriel of Pritmore is going past. 288 00:32:47,000 --> 00:32:49,200 Muriel of Pritmore's in the lead 289 00:32:49,200 --> 00:32:52,000 and it's Muriel of Pritmore to win. 290 00:32:52,000 --> 00:32:54,600 Carol place and plenty to show. 291 00:32:58,600 --> 00:33:01,000 Daphne lectures Carol on school spirit, which in the 292 00:33:01,000 --> 00:33:05,200 movies at least is all that college's ever taught. 293 00:33:18,600 --> 00:33:20,400 Now the final event of the afternoon 294 00:33:20,400 --> 00:33:22,800 with the score tied 50 to 50. 295 00:33:26,800 --> 00:33:29,600 Carol's in the lineup with a chance to redeem herself. 296 00:33:29,600 --> 00:33:31,600 The coach's pleadings ring in her ears, 297 00:33:31,600 --> 00:33:34,000 the will to win swells in her breast. 298 00:33:34,000 --> 00:33:37,600 The love for lovely old Sunnydale beats in her heart. 299 00:33:37,600 --> 00:33:41,400 Her boyfriend cheers in the stands but even so 300 00:33:41,400 --> 00:33:46,000 Carol's having a rough time taking those hurdles. 301 00:34:01,200 --> 00:34:04,200 Now with the hurdles behind Carol's coming fast. 302 00:34:04,200 --> 00:34:07,600 She's past the pack, she's neck and neck with the leader. 303 00:34:07,600 --> 00:34:09,600 They're matching stride for stride. 304 00:34:09,600 --> 00:34:14,200 Carol's edging forward and she's over the line, the winner! 305 00:34:14,200 --> 00:34:17,400 Oh what a glorious day for Sunndydale. 306 00:34:25,600 --> 00:34:28,600 Behind the celebrants a chain forms to grow ever 307 00:34:28,600 --> 00:34:31,400 longer and whirl ever faster. 308 00:34:31,400 --> 00:34:34,800 But all things must go and soon it will be gone 309 00:34:34,800 --> 00:34:38,200 as the age of flappers and flaming youth is gone. 310 00:34:38,200 --> 00:34:41,400 And a girl Jane Peters, who became Carol Lombard 311 00:34:41,400 --> 00:34:45,600 and who loved life so well and died so tragically. 312 00:35:05,800 --> 00:35:08,600 The lights of Broadway glow in the descending night, 313 00:35:08,600 --> 00:35:10,800 the Broadway of 1929. 314 00:35:10,800 --> 00:35:13,400 A cab pulls up before a swank hotel. 315 00:35:13,400 --> 00:35:17,000 Two doormen named Laurel and Hardy bobble about, 316 00:35:17,000 --> 00:35:20,800 but look inside that cab, perhaps you recognize the girl? 317 00:35:20,800 --> 00:35:23,200 This bit player is to become one of the most 318 00:35:23,200 --> 00:35:25,600 publicized women in the world. 319 00:35:32,400 --> 00:35:35,600 Her platinum hair, exquisite figure and breezy manner 320 00:35:35,600 --> 00:35:38,800 are to create a new kind of movie heroine, the first of a 321 00:35:38,800 --> 00:35:42,200 glamorous line that includes today's Marilyn Monroe. 322 00:35:42,200 --> 00:35:44,000 Her name, Jean Harlow. 323 00:35:50,000 --> 00:35:52,800 Her role in this Hal Roach comedy called "Double Whoopee" 324 00:35:52,800 --> 00:35:55,400 was small but it was a kind of role you couldn't 325 00:35:55,400 --> 00:35:59,000 help noticing and she filled it so well. 326 00:35:59,000 --> 00:36:03,800 It provided Jean Harlow with her first real break. 327 00:37:02,400 --> 00:37:06,000 Though our subject is comedy grow serious we must, 328 00:37:06,000 --> 00:37:09,400 for we are about to meet the most versatile of actors, 329 00:37:09,400 --> 00:37:12,400 a man of a thousand roles, all of them different. 330 00:37:12,400 --> 00:37:15,600 And a thousand faces, all of them the same. 331 00:37:15,600 --> 00:37:18,000 A man who could make Barrymore blush 332 00:37:18,000 --> 00:37:20,200 and von Stroheim grow pale. 333 00:37:20,200 --> 00:37:23,600 Behind that final towel lurks Ben Turpin. 334 00:37:31,000 --> 00:37:34,000 Here Turpin plays one of his most famous characterizations, 335 00:37:34,000 --> 00:37:35,800 that at of Rodney St Clair, 336 00:37:35,800 --> 00:37:38,400 the international playboy and heartbreaker. 337 00:37:38,400 --> 00:37:41,600 In real life however Ben was staunchly conservative. 338 00:37:41,600 --> 00:37:44,200 He bought an apartment house and though his salary rose 339 00:37:44,200 --> 00:37:47,600 to $1,500 a week he got up early each morning to act 340 00:37:47,600 --> 00:37:51,600 as janitor before riding the street car to work. 341 00:37:54,400 --> 00:37:57,200 At this time a scene from "The Merry Widow" 342 00:37:57,200 --> 00:38:00,600 was shocking America, in it John Gilbert made love 343 00:38:00,600 --> 00:38:03,400 while blindfolded musicians played. 344 00:38:03,400 --> 00:38:05,200 And if John Gilbert could have 345 00:38:05,200 --> 00:38:08,800 blindfolded musicians so could Ben Turpin. 346 00:38:10,400 --> 00:38:13,800 Lulled by the sweet strains Rodney St Clair glides 347 00:38:13,800 --> 00:38:17,200 into a dance called "My Revere", 348 00:38:17,200 --> 00:38:21,200 for music has charms to soothe the savage beast. 349 00:38:28,200 --> 00:38:31,600 Later across town an irate husband thinks that 350 00:38:31,600 --> 00:38:36,200 worm Rodney has been nibbling at the apple of his eye. 351 00:38:36,200 --> 00:38:40,400 "He'll not come around here again.", the husband mutters. 352 00:38:46,200 --> 00:38:48,800 Is he always to escape scot free, 353 00:38:48,800 --> 00:38:52,800 that mad irresistible adventurer Rodney St Clair? 354 00:38:56,000 --> 00:38:58,600 Glockenspielgudge was the kind of a town where a man 355 00:38:58,600 --> 00:39:02,200 could fall into trouble in his sleep. 356 00:39:18,200 --> 00:39:20,000 The scourge of this clapboard 357 00:39:20,000 --> 00:39:23,600 metropolis was Mobrey the Ombre and his outlaw band. 358 00:39:23,600 --> 00:39:27,200 Mobrey feared but one man and here he comes racing to 359 00:39:27,200 --> 00:39:30,200 the rescue, Perona Pete, the pint sized peril. 360 00:39:30,200 --> 00:39:33,400 Formerly a teller in a piggy bank. 361 00:39:33,400 --> 00:39:38,000 Perona rode tall in the saddle by standing up. 362 00:39:40,000 --> 00:39:42,600 Movie fans don't be fooled, behind that clever disguise 363 00:39:42,600 --> 00:39:45,600 is Ben Turpin as the traditional western hero. 364 00:39:45,600 --> 00:39:48,400 Gary Cooper, Gene Audrey, Roy Rogers, 365 00:39:48,400 --> 00:39:51,000 Ben taught them all they know. 366 00:39:55,400 --> 00:39:57,600 Girls get out the handkerchiefs. 367 00:39:57,600 --> 00:40:00,800 In his next role Ben plays a mere man willing 368 00:40:00,800 --> 00:40:03,600 to sacrifice all for a woman. 369 00:40:03,600 --> 00:40:06,600 Innocent Ben tells Slippery Harry Griffin that he'll 370 00:40:06,600 --> 00:40:09,000 confess to save little Nell, 371 00:40:09,000 --> 00:40:11,200 yet Slippery's the real culprit. 372 00:40:11,200 --> 00:40:13,600 In charges Ben, "I did it!", he shouts, 373 00:40:13,600 --> 00:40:16,000 "How much is missing, 10, 20?" 374 00:40:16,000 --> 00:40:19,600 "The cash register is $50,000 short.", say's the sergeant. 375 00:40:19,600 --> 00:40:22,000 "And you look guilty to me!" 376 00:40:22,000 --> 00:40:26,200 Ben turns to Nell, "Scram you crummy crook.", she whimpers. 377 00:40:26,200 --> 00:40:28,800 It's the unkindest cut of all. 378 00:40:28,800 --> 00:40:31,200 "You'll hang for this!", growls the Sergeant 379 00:40:31,200 --> 00:40:33,400 and by George so he does. 380 00:40:50,600 --> 00:40:53,200 While Ben's nursing a sore throat in creeps 381 00:40:53,200 --> 00:40:56,200 Slippery to steal Nell like he stole the dough. 382 00:40:56,200 --> 00:40:58,400 "Come with me to Hoboken.", he mutters. 383 00:40:58,400 --> 00:40:59,800 But the police have overheard, 384 00:40:59,800 --> 00:41:03,200 in the good old days justice was swift. 385 00:41:08,000 --> 00:41:10,200 "You'll honeymoon in Hoboken,", says Ben, 386 00:41:10,200 --> 00:41:12,800 "but you'll honeymoon with me." 387 00:41:15,400 --> 00:41:19,200 Now an episode of clear cultural delight, 388 00:41:19,200 --> 00:41:23,000 Ben Turpin as mythology's great god Pan, come to earth 389 00:41:23,000 --> 00:41:26,600 to prance through woodline glade with a mortal woman. 390 00:41:26,600 --> 00:41:29,600 As the old wives tell it, this dance can only take place 391 00:41:29,600 --> 00:41:33,000 when St Swithun's Day follows Michaelmas Monday 392 00:41:33,000 --> 00:41:35,400 in the green hills of Grunt. 393 00:41:37,800 --> 00:41:41,800 What grace, what poetry, what avant garde surrealism. 394 00:42:03,200 --> 00:42:06,400 Ah, back to grim reality and Ben Turpin on the run 395 00:42:06,400 --> 00:42:09,200 as Fearless Noodnick, the movie stuntman. 396 00:42:09,200 --> 00:42:11,400 At his heels is an insistent camera crew 397 00:42:11,400 --> 00:42:13,800 which wants him for a scene they're shooting. 398 00:42:13,800 --> 00:42:15,600 Fearless is 39 years old. 399 00:42:15,600 --> 00:42:19,400 If he keeps on running he may someday be 40. 400 00:42:26,200 --> 00:42:30,000 "Wow!", says Fearless, "I've fallen into heaven." 401 00:42:30,000 --> 00:42:33,600 But the camera crew has him and heaven was never like this. 402 00:42:33,600 --> 00:42:36,200 Fearless is giving a sterling performance when director 403 00:42:36,200 --> 00:42:38,800 Harry Griffin learns there's a real fire in town. 404 00:42:38,800 --> 00:42:41,600 In the early days film companies would rush to 405 00:42:41,600 --> 00:42:44,800 the scenes of actual fires, floods, earthquakes and parades, 406 00:42:44,800 --> 00:42:46,800 push their actors into the action 407 00:42:46,800 --> 00:42:49,000 and write stories to fit later. 408 00:42:49,000 --> 00:42:51,800 Here by the way is another for the memory books, 409 00:42:51,800 --> 00:42:53,800 a horse drawn fire engine. 410 00:43:01,400 --> 00:43:03,800 Fearless is getting lonely when along come 411 00:43:03,800 --> 00:43:07,200 a playful cat and dog to keep him company. 412 00:43:30,400 --> 00:43:33,000 Off go cat and dog to caper elsewhere 413 00:43:33,000 --> 00:43:35,000 but Ben's staying put. 414 00:43:35,000 --> 00:43:39,400 Luckily there's an air hose just within reach. 415 00:43:39,400 --> 00:43:41,800 Meanwhile arrive at the fire the director 416 00:43:41,800 --> 00:43:44,000 gives Irene Lentz, as the leading lady, 417 00:43:44,000 --> 00:43:48,200 a prop baby and tells her to run into the smoke and flames. 418 00:43:51,200 --> 00:43:52,600 The firemen make trouble, 419 00:43:52,600 --> 00:43:54,800 "The nerve of them bums!", yells the director, 420 00:43:54,800 --> 00:43:56,800 "They'll spoil the shot!" 421 00:43:59,000 --> 00:44:01,800 And so as he sinks into the deep 422 00:44:01,800 --> 00:44:04,800 we bid a fond farewell to Ben Turpin. 423 00:44:13,400 --> 00:44:16,800 On a hot crowded summer Sunday Laurel and Hardy 424 00:44:16,800 --> 00:44:19,400 pull out of a line of cars into what some film 425 00:44:19,400 --> 00:44:21,800 historians believe is one of the funniest 426 00:44:21,800 --> 00:44:24,000 short comedies ever made. 427 00:44:24,000 --> 00:44:27,200 It was produced by Hal Roach in 1928. 428 00:44:27,200 --> 00:44:29,600 It's supervising director was Leo McCarey, 429 00:44:29,600 --> 00:44:31,800 who went on to win Academy Awards for 430 00:44:31,800 --> 00:44:34,600 "The Awful Truth" and "Going My Way." 431 00:44:34,600 --> 00:44:36,600 It's photographer was George Stevens, who turned 432 00:44:36,600 --> 00:44:40,400 director himself and created "Shane" and "Giant." 433 00:44:40,400 --> 00:44:42,600 It's title was "Two Tars." 434 00:44:44,000 --> 00:44:46,200 Yes that's Edgar Kennedy. 435 00:44:46,200 --> 00:44:48,400 Stan and Oliver as sailors on shore leave 436 00:44:48,400 --> 00:44:51,600 have taken up with fast women in slow traffic. 437 00:44:51,600 --> 00:44:53,800 We needn't say more for like most great 438 00:44:53,800 --> 00:44:57,600 silent comedies "Two Tars" speaks for itself. 439 00:47:35,400 --> 00:47:38,000 The old time movie makers knew how to begin 440 00:47:38,000 --> 00:47:40,400 with a simple believable situation, 441 00:47:40,400 --> 00:47:42,800 then build and build until the whole world 442 00:47:42,800 --> 00:47:46,200 seemed caught in a special kind of insanity. 443 00:47:46,200 --> 00:47:49,000 This one is building like an atomic chain reaction. 444 00:47:49,000 --> 00:47:51,600 Notice the way that Laurel and Hardy fever spreads 445 00:47:51,600 --> 00:47:53,400 to the second line of cars, 446 00:47:53,400 --> 00:47:57,200 where pipsqueak battles with truck driver. 447 00:48:48,400 --> 00:48:50,400 In steps a leader of men, 448 00:48:50,400 --> 00:48:53,200 "Come on, move on boys, move on!" 449 00:50:14,800 --> 00:50:17,200 The crowd, hot and impatient, demands, 450 00:50:17,200 --> 00:50:20,400 "Get that junk off the highway!" 451 00:50:26,600 --> 00:50:30,800 Upon this Sunday scene happens a perplexed policeman. 452 00:50:38,200 --> 00:50:42,400 One look at the uniform and the girls silently melt away. 453 00:51:00,000 --> 00:51:01,800 "Who started this?!", asked the cop. 454 00:51:01,800 --> 00:51:03,800 "The sailors did!", answers the crowd. 455 00:51:03,800 --> 00:51:06,800 "Uh huh," say's the cop, "a couple of trouble makers. 456 00:51:06,800 --> 00:51:08,400 "You birds are under arrest, 457 00:51:08,400 --> 00:51:12,000 "now the rest of you move out of here!" 458 00:51:30,000 --> 00:51:32,200 The little devils. 459 00:52:09,000 --> 00:52:11,000 "Alright wise guys," says the law, 460 00:52:11,000 --> 00:52:13,400 "Get going, and no funny business. 461 00:52:13,400 --> 00:52:16,600 "I'll be right behind yah see. 462 00:52:16,600 --> 00:52:18,400 "Follow them sailors! 463 00:52:28,400 --> 00:52:30,600 "Follow them sailors! 464 00:52:41,600 --> 00:52:44,400 "Everybody, follow them sailors! 465 00:52:50,600 --> 00:52:52,600 "Follow them sailors!" 466 00:52:57,800 --> 00:53:00,000 "Sorry officer, she blew." 467 00:53:49,000 --> 00:53:50,800 A train hurtles through the night, 468 00:53:50,800 --> 00:53:53,400 carrying in an upper berth one of the funniest 469 00:53:53,400 --> 00:53:57,200 yet certainly the saddest of all screen comedians, 470 00:53:57,200 --> 00:53:59,800 the unforgettable Harry Langdon. 471 00:54:03,600 --> 00:54:06,200 Below his new bride gets set for slumber, 472 00:54:06,200 --> 00:54:09,000 for Harry's on his honeymoon, an event which apparently 473 00:54:09,000 --> 00:54:11,200 hasn't in the least ruffled the infantile 474 00:54:11,200 --> 00:54:14,000 innocence of this most unique of clowns, 475 00:54:14,000 --> 00:54:18,200 who one critic said had the face of a fiendish baby. 476 00:54:37,400 --> 00:54:39,600 Harry faces up to the perils of the Pullman 477 00:54:39,600 --> 00:54:42,000 with a savoir faire of a three year old 478 00:54:42,000 --> 00:54:45,000 cast adrift in a hostile kindergarten. 479 00:54:45,000 --> 00:54:47,200 Langdon's style was completely intuitive. 480 00:54:47,200 --> 00:54:49,400 In real life he was almost as child like 481 00:54:49,400 --> 00:54:51,600 as the character he portrayed, 482 00:54:51,600 --> 00:54:54,600 and he rarely knew the plot of the picture he was making. 483 00:54:54,600 --> 00:54:57,600 Yet today, long after his passing, he is remembered 484 00:54:57,600 --> 00:55:00,200 as one of the four greatest comedians in the 485 00:55:00,200 --> 00:55:03,600 60 year history of the motion picture. 486 00:55:29,600 --> 00:55:32,000 His bride's thirsty, the little darlin' 487 00:55:32,000 --> 00:55:34,200 and so begins the next chapter of the 488 00:55:34,200 --> 00:55:37,200 horrible honeymoon hazards of Harry. 489 00:55:52,800 --> 00:55:55,000 Skittering before the approaching conductor 490 00:55:55,000 --> 00:55:57,200 Harry opens the front or windy end 491 00:55:57,200 --> 00:56:01,600 of the old type Pullman and looses a hurricane. 492 00:56:15,000 --> 00:56:18,800 Comes the dawn, the passengers gather themselves together 493 00:56:18,800 --> 00:56:21,600 like shipwrecked castaways on a storm swept isle 494 00:56:21,600 --> 00:56:24,800 and Harry's off to the train dressing room. 495 00:56:24,800 --> 00:56:27,200 While his colleagues race through elaborate gags 496 00:56:27,200 --> 00:56:30,200 at breakneck pace, Langdon moved hesitantly 497 00:56:30,200 --> 00:56:33,200 through situations that were both simple and human. 498 00:56:33,200 --> 00:56:35,800 Of him it has been said that he could do more with 499 00:56:35,800 --> 00:56:38,800 less than any other comedian. 500 00:57:53,000 --> 00:57:55,800 Harry could make returning to his seat an achievement 501 00:57:55,800 --> 00:57:59,600 roughly comparable to scaling Mount Everest. 502 00:58:13,600 --> 00:58:16,400 In comes the Sheriff with the meanest, toughest, 503 00:58:16,400 --> 00:58:21,400 prisoner in all the land, Hardman Hank, arrested for murder. 504 00:58:21,400 --> 00:58:23,600 Langdon looks at him with a gaze of a youngster 505 00:58:23,600 --> 00:58:26,800 confronted by the boogie man. 506 00:58:49,600 --> 00:58:51,800 On a handcar alongside the speeding train 507 00:58:51,800 --> 00:58:56,000 races Hardman's pal in a daring plot to help him escape. 508 00:59:01,400 --> 00:59:04,200 "Hold onto this bird," shouts the Sherrif, 509 00:59:04,200 --> 00:59:07,600 "I'll run out and nab his buddy." 510 00:59:17,600 --> 00:59:20,600 "Don't worry palsy," confides Hardman, 511 00:59:20,600 --> 00:59:23,000 "Everything's taken care of, 512 00:59:23,000 --> 00:59:26,600 "we'll blast our way out of this together." 513 00:59:53,000 --> 00:59:56,600 This short film was made by Harry Langdon in 1924 514 00:59:56,600 --> 00:59:59,800 when he was at the threshold of international success. 515 00:59:59,800 --> 01:00:03,200 Within five years his comedy instincts seemed to fail 516 01:00:03,200 --> 01:00:06,200 and he rode a rough toboggan to obscurity, 517 01:00:06,200 --> 01:00:08,800 heartbreak and an early death. 518 01:00:09,600 --> 01:00:11,800 A close associate summed it up. 519 01:00:11,800 --> 01:00:14,200 "The little fellow was the most tragic figure 520 01:00:14,200 --> 01:00:17,400 "I ever came across in show business." 521 01:00:24,000 --> 01:00:26,200 In the Golden Age a happy source of humor 522 01:00:26,200 --> 01:00:28,000 was the animal comedy. 523 01:00:28,000 --> 01:00:31,400 This form of fun lives on today only in the movie cartoon, 524 01:00:31,400 --> 01:00:33,800 where because it is far less realistic 525 01:00:33,800 --> 01:00:36,200 it is also far less amusing. 526 01:00:39,200 --> 01:00:42,600 One of the most hilarious animal episodes ever put on film 527 01:00:42,600 --> 01:00:46,600 was this nightmarish encounter between a tail tied lion 528 01:00:46,600 --> 01:00:51,400 and apron string tied family man named Charlie Chase. 529 01:01:33,800 --> 01:01:36,200 Clyde ran out of human companions for checkers, 530 01:01:36,200 --> 01:01:39,200 he called on the family cat and he also showed 531 01:01:39,200 --> 01:01:42,400 why cats aren't used more often for this purpose, 532 01:01:42,400 --> 01:01:44,400 they're too darn good. 533 01:02:31,800 --> 01:02:35,400 "That lame cat, I'll cut down on her milk." 534 01:02:39,800 --> 01:02:42,400 Cameo, the Max Sennett dog, never played poker with the 535 01:02:42,400 --> 01:02:46,200 boys but he was the canine kibitzer in all of Canarsie. 536 01:02:46,200 --> 01:02:48,800 Slippery Harry Griffin, the villain of this piece 537 01:02:48,800 --> 01:02:51,600 looks at his hand and discovers he's just an ace 538 01:02:51,600 --> 01:02:53,400 away from a royal flush. 539 01:02:53,400 --> 01:02:55,600 Of course Slippery could draw for it 540 01:02:55,600 --> 01:02:57,200 but that would be the hard way. 541 01:02:57,200 --> 01:03:01,400 And besides he just happens to have on in his shoe. 542 01:03:05,000 --> 01:03:07,400 Billy Bevan, whose Cameo's master, tell his dog 543 01:03:07,400 --> 01:03:10,200 to sneak a hound's eye look at Griffin's cards. 544 01:03:10,200 --> 01:03:12,400 Slippery Harry's slick and quick 545 01:03:12,400 --> 01:03:15,600 but Cameo's slicker and quicker. 546 01:03:28,200 --> 01:03:29,400 Nix, nix boss. 547 01:03:31,600 --> 01:03:32,400 Nix, nix. 548 01:03:44,600 --> 01:03:47,000 Griffin's being outwitted by an adversary with 549 01:03:47,000 --> 01:03:50,000 short hair, big spots and a sawed off tail. 550 01:03:50,000 --> 01:03:52,600 "Get that mutt Mata Hari out of here!", 551 01:03:52,600 --> 01:03:55,400 snarls the outraged Slippery. 552 01:03:55,400 --> 01:03:59,200 Under the table Cameo works his wicked wiles. 553 01:04:10,400 --> 01:04:14,400 It's the switcheroo, the old army game, doggone. 554 01:04:32,600 --> 01:04:34,800 Slippery smiles with that smug security 555 01:04:34,800 --> 01:04:38,400 that comes only to he who holds the top hand in the deck. 556 01:04:38,400 --> 01:04:42,000 All bets are down and that's every buck in the joint. 557 01:04:42,000 --> 01:04:45,600 "You go first.", say's the gallant Griffin. 558 01:04:47,600 --> 01:04:50,000 "Just a minute," say's Slippery, 559 01:04:50,000 --> 01:04:52,800 "10 of diamonds, jack of diamonds, queen of diamonds, 560 01:04:52,800 --> 01:04:56,000 "king of diamonds and three of clubs?" 561 01:05:02,000 --> 01:05:05,400 Kewpie Morgan, whose Billy's silent partner, counts the take 562 01:05:05,400 --> 01:05:09,800 but Hades hath no fury like the cheater cheated. 563 01:05:09,800 --> 01:05:11,000 Wham! 564 01:05:11,000 --> 01:05:13,600 Kewpie saves the money and Cameo tries to save Billy 565 01:05:13,600 --> 01:05:16,800 by putting the bite on Slippery Harry. 566 01:05:18,600 --> 01:05:23,400 There goes Billy to rendezvous by the old hook rug. 567 01:05:30,600 --> 01:05:32,600 "Ah, there you are!", says Harry, 568 01:05:32,600 --> 01:05:35,800 "Just in time for another facial massage." 569 01:05:35,800 --> 01:05:38,000 Cameo appraises the situation. 570 01:05:38,000 --> 01:05:40,200 His teeth are tired and it's hard to get a grip 571 01:05:40,200 --> 01:05:42,200 on Giffin's shiny pants, he's got to get help. 572 01:05:50,600 --> 01:05:53,600 When Cameo digs into a matter pity the petulant policeman, 573 01:05:53,600 --> 01:05:56,000 dirt's getting splattered all over a member of 574 01:05:56,000 --> 01:06:00,000 that illustrious core called the Keystone Cops. 575 01:06:01,400 --> 01:06:03,000 The law's plum tuckered out 576 01:06:03,000 --> 01:06:06,600 but Cameo knows how to apply whiplash of icy indignity 577 01:06:06,600 --> 01:06:08,800 and the chase is really on. 578 01:06:16,400 --> 01:06:18,800 One cop mightn't be enough muses Cameo, 579 01:06:18,800 --> 01:06:21,600 I'd better bring reinforcements. 580 01:06:26,600 --> 01:06:29,400 In the '20's, when this film was made, a dog called 581 01:06:29,400 --> 01:06:33,000 Rin Tin Tin was one of the most successful stars in film. 582 01:06:33,000 --> 01:06:36,000 Little Cameo was never to reach the heights of movie fame 583 01:06:36,000 --> 01:06:39,200 but he could do everything that Rinny could and maybe more. 584 01:06:39,200 --> 01:06:43,400 Why Rin Tin Tin never snatched a skirt in his life. 585 01:07:26,000 --> 01:07:29,400 Cameo's brought help alright, the entire police force, 586 01:07:29,400 --> 01:07:32,800 but this rescue's worse than the peril. 587 01:07:35,600 --> 01:07:40,200 Billy decides he'd rather be punched than pinched. 588 01:07:40,200 --> 01:07:43,000 Kewpie drops the bag and out flies the money, 589 01:07:43,000 --> 01:07:45,000 smack onto the back of a passing turtle on 590 01:07:45,000 --> 01:07:47,000 it's way to Schlapcole's Lake. 591 01:07:47,000 --> 01:07:49,200 Of course Kewpie knows from nothing that don't cough 592 01:07:49,200 --> 01:07:51,600 but Cameo has spotted the whole thing. 593 01:07:51,600 --> 01:07:53,600 He'll save that bundle of fives before 594 01:07:53,600 --> 01:07:56,600 Abe Lincoln gets his beard wet. 595 01:08:09,000 --> 01:08:11,600 Nearby policeman relax from pounding their beat 596 01:08:11,600 --> 01:08:13,800 by beating their feet and who should 597 01:08:13,800 --> 01:08:17,000 pop onto the track but the unholy three. 598 01:08:41,200 --> 01:08:44,200 The boys decide to make up and divide the dough, 599 01:08:44,200 --> 01:08:47,600 which by now may be floating in a bowl of turtle soup. 600 01:08:47,600 --> 01:08:51,000 But no, three slickers turned suckers stare in horror 601 01:08:51,000 --> 01:08:54,800 as little Cameo writes the perfect end to this story, 602 01:08:54,800 --> 01:08:59,000 by proving that maybe the world should go to the dogs. 603 01:09:05,600 --> 01:09:08,400 Down that inevitable street, which became so familiar 604 01:09:08,400 --> 01:09:11,400 to movie goers it seemed to be their own hometown, 605 01:09:11,400 --> 01:09:14,000 strolled two past the have musicians, 606 01:09:14,000 --> 01:09:16,200 Stan Laurel and Oliver Hardy. 607 01:09:16,200 --> 01:09:18,600 Put Laurel and Hardy on a simple street 608 01:09:18,600 --> 01:09:20,600 and anything can happen. 609 01:09:42,200 --> 01:09:45,600 Like almost all the Laurel and Hardys this film 610 01:09:45,600 --> 01:09:48,200 was produced by Hal Roach, who started with 611 01:09:48,200 --> 01:09:51,400 Universal Pictures as an inexperienced actor in 1913. 612 01:09:51,400 --> 01:09:53,800 By the next year in those fast moving times 613 01:09:53,800 --> 01:09:56,400 Roach owned his own company, which continues 614 01:09:56,400 --> 01:09:59,600 in the family down to the present day. 615 01:10:34,600 --> 01:10:38,400 "Now watch where you're going.", says Oliver. 616 01:11:23,000 --> 01:11:24,600 Aha, a music lover. 617 01:11:36,200 --> 01:11:38,200 The disappointments of the day prove too much 618 01:11:38,200 --> 01:11:42,000 for poor Oliver and it's all Stanley's fault. 619 01:12:20,000 --> 01:12:21,000 Flat. 620 01:15:22,800 --> 01:15:27,000 The curtain lowers, the clowns depart, hail and farewell. 621 01:15:28,200 --> 01:15:30,600 We will never see their like again. 622 01:15:30,600 --> 01:15:33,000 This is the end of a memory.