cross-dressing heaven
by Douglas Messerli
Roscoe “Fatty” Arbuckle (screenwriter and
director) Good Night, Nurse! / 1918
Roscoe “Fatty” Arbuckle’s 1918 short of 26
minutes is a kind of rag-tag series of comedic mini-skits which don’t entirely
dove-tail into a coherent whole, but nonetheless do provide some excellent
comic moments, particularly given that Arbuckle’s central comedic opposite in
this work is the great Buster Keaton who plays, in the first “skit,” a woman
with an umbrella swept back by the horrific winds of a rain storm into
Arbuckle’s post outside of a store where he is no longer allowed access to
fulfill his need for liquor; and in the second major “skit,” he performs as a
mad surgeon who heads the No Hope Sanitarium which contains numerous insane men
and women as well, supposedly as recovering alcoholics—which is the reason why
Arbuckle’s wife has sentenced him to the place where surgery appears to be the
final solution to all ills.
Keaton would in later films play a sufferer of several storms, but here,
dressed as a woman who braves her way against the winds of such tempestuous
force that they keep her flying backwards into Arbuckle’s arms and apparent
protection, she is also seemingly abused by the giant roadblock, as he attempts
momentarily to make use of her inverted umbrella as a cover to light a
cigarette and, later, as holding onto her dress as the pushes her in the other
direction, in the process helping, along with the winds, to nearly strip her of
her clothing.
The
scene also concerns a passing policeman, who seems to see Arbuckle completely
innocent in a world where, in fact, he is represented of taking advantage of
anyone who sails by, as well as being a truly inebriated gentleman of the
gutter who briefly commiserates with the distressed female over the existence
of endless water without a drop of alcohol, and, almost inexplicably, communicates
similar feelings to a passing organ grinder, his monkey, and female
assistant—the trio of whom Arbuckle invites home, which for his wife becomes
the last straw as she forces him into the care of the Sanitarium.
Once in the sanitarium, from which Arbuckle is seen constantly
attempting to escape, the new patient witnesses the mad Dr. Hampton, Keaton
again, in a blood-splattered white coat exiting an operating room. Witnessing,
soon after, a truly mad woman (Alice Lake) who jumps into his arms, tempting
him to kiss her, Arbuckle is absolutely certain that this is no place in which
he wants to stay. About to be given a basic physical, the sizable oaf places an
alarm clock under his shirt to serve as his heart, and begins to chew on the
thermometer, an act that, when the doctors perceive that he might have consumed
mercury, truly demands an operation.
Arbuckle fights back with all his might, but the doctor and his
assistants finally do strap him down and douse him with ether.
He
awakens sometime later and decides once again to escape from the sanitarium,
bumping once more into the female patient from his earlier escape attempt. She
tries to convince Arbuckle she is not crazy and that she has been mistakenly
committed. Pursued by doctors into the communal patients’ ward, a mass pillow
fight breaks out between the inmates and the guards, allowing Arbuckle and the
girl to finally go on the run. Once in the clear, Arbuckle asks the girl if
there is anything else he can do for her. She asks him to help her get back
into the sanitarium.
Realizing
the girl is genuinely crazy, Arbuckle ditches her by jumping into a nearby pond
and pretending to drown, forcing the girl to go running for help. Doctors give
chase and while attempting to flee, Arbuckle finds himself back at the
sanitarium.
Once there he observes the hefty head nurse (Kate Price) removing her
uniform and putting on civilian clothing for a brief trip away from the clinic.
Arbuckle quickly dresses in her uniform and begins a voyage down the long hall
to freedom once again, but almost immediately encounters Hampton. To maintain “her”
cover, she waves flirtatiously at him only to discover the doctor returning his
flirtations.
But the real nurse returns, blowing his
cover, and Arbuckle is forced to race away, pursued by Keaton and his minions
across a farm and onto a track where a sponsored race is already midway.
So desperate is the escaped patient that he
manages to beat the other runners to the finish line and is declared the
winner. He is awarded the prize money of $2,000 which he realizes he can use to
buy a great amount of alcohol, but the doctors track him down once again.
Arbuckle attempts to run off one last time, but is wrestled to the ground by
the doctors.
The scene suddenly shifts back to the hospital bed with the doctors
shaking Arbuckle awake after his operation, revealing the whole escape attempt
to have been nothing more than a dream.
In
this film, accordingly, we have two great silent era comics both turning to
crossdressing for comic results; but whereas for Keaton being female is merely
another situation which he must endure to get through the day, for Arbuckle it
actually provides him with new possibilities, a world of desire and love that
appears unavailable to him much like the liquor he’s denied by the shop clerk
in everyday life. No wonder that even in his ether dreams, Arbuckle imagines
himself in cross-dressing heaven.
Los Angeles, July 13, 2021
Reprinted from My Queer Cinema blog and
World Cinema Review (July 2021).
No comments:
Post a Comment