professional amateurs
by Douglas Messerli
Roscoe “Fatty” Arbuckle (screenwriter and
director) Back Stage / 1919
In one of the very first of the film genre of
the “amateur back yard musicals” that Mickey Rooney and Judy Garland later made
so very famous, Roscoe “Fatty” Arbuckle’s 1919 26-minute movie is a true gem.
It
begins in an amateur theater with the rude mechanicals of the backstage
management left to the unsteady stagehands of Arbuckle, Buster Keaton, and Al
St. John.
Arbuckle is busy posting a new announcement for the theater’s next fare,
but fortunately, troubled by a pest of a young boy—who at one point, in an
example of appropriate early 20th century child abuse, he plasters to the
poster itself—gets it all wrong, leaving the sign, with the barn door open, to
read, instead of
YOU MUST NOT MISS
GERTRUDE McSKINNY
FAMOUS STAR WHO WILL
PLAY THE LITTLE LAUNDRESS
FIRST TIME HERE
TOMORROW AT 2PM
to announce: MISS
SKINNY WILL UNDRESS HERE AT 2PM. Predictably
the show draws a large crowd.
In
the meantime, the two “stars” arrive, both demanding their ego-driven celebrity
attention, which Keaton provides through a shifting star sign that travels from
door to door.
The brute of a strong man (Charles A. Post) enters with five heavy
suitcases lugged about by his frail assistant played by Molly Malone,
presumably the “Miss McSkinny” of their poster. She not only is forced to carry
his load, but soon after is tasked with emptying out a trunk of his barbells
and weights, which she drags out one by one as he lazily looks on. In a
wonderful scene of sympathy for the much-abused woman, Arbuckle, Keaton, and
St. John hook up his barbell to electrical currents and temporarily knock him
out as punishment for his treatment of the poor girl, with whom Arbuckle almost
immediately falls in love.
As
the show is about to go on the two leads suddenly go on strike and the show
seems doomed until Molly whispers the inevitable words into Arbuckle’s and
Keaton’s ears: “Hey kids, I’ve got an idea, let’s.....,” and put on a show they
do.
The first two acts go fairly well with Molly doing an exotic dance, and, in the second act, Keaton as a princess “king” (part of an explicable plot that goes along with “The Fall of the Reign”), this time Keaton performing in drag instead of Arbuckle. As usual, Keaton isn’t very convincing as a girl, but he’s quite astonishing as a dancer who, as the intertitle reads, “thinks he’s an acrobat.” The great comedian was indeed an amazing athlete, and there is no better evidence of it in these scenes when in full “dress” he performs a no-handed cartwheel.
Arbuckle ends this charming piece of silly heroics with a visit to Molly where she is nicely recovering in the hospital, offering her an apple from which he promptly takes a large bite, suggesting perhaps that he is the willing Adam to her Eve.
Los Angeles, August 31, 2021
Reprinted from World Cinema Review and My
Queer Cinema blog (August 2021).
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