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Everything posted by Editrix

  1. 1. Pertaining to color in this scene, it really doesn't add much to the gags, except for the mud on Lucy's pink pyjamas and red hair. It's not as if there was a joke about say, "Turn the red knob!" "Which knob?" "The red knob!" Then the knobturner doesn't hear and turns the blue knob where fun ensues. The whole discussion of color versus black and white was best summed up by Roger Ebert on Siskel and Ebert when they were discussing colorizing old movies. Ebert said that you had to be more beautiful in black and white because the colour wasn't obscuring anything. Same here, I think.
  2. The dangerous and somewhat sad outcome of a cameo, especially like the ones in Anchorman is the joke can become outdated very quickly. In this course, we have enjoyed 100 year old gags, that are still universally funny today. Something tells me that in 90 years, there will be no humor when Tim Robbins steps on the screen for the rumble.
  3. (Full disclosure - huge Charley Chase fan. Thank you for providing this study of his work.) 1. In this clip, and in many of Chase's sound films, it's like his comedy is wearing a harness. There is little exaggeration in his performance, the physicality is limited-to-non-existent and there is little of the make believe. That said, the perfume machine gag is repetitive and probably painful, but not to the extent of Keaton with his props. All of this was probably due to the limitations of the early sound recording equipment. Chase would have had to have been close to the microphone and
  4. 1. All are important, but costume not so much. (Why, in all of these questions, doesn't editing ever get mentioned? Take a look at some of these films with editing in mind.) 2. Keaton's comedy is more situational - more of the everyman - but not as much as other silent comedians. Chaplin's tramp was a specific character that most of us can't relate to. Who among us has lived on the streets? Keaton in One Week is DIYing his house - we have TV networks devoted to those shows, but without the comedy. 3. Keaton's comedy was prop comedy. He could take almost any object and find a g
  5. 1. Film scholars would probably agree that the silent era consitutes the "golden age of comedy." Ask the average Joe on the street and he would probably say Mel Brooks' movies or Will Ferrell's movies. 2. I disagree that the jokes were entirely visual. Many of the silent comedies had very clever title cards which would provide a laugh. The comedy evolved in the sound era. It didn't have to rely almost solely on visual humor. With the addition of dialogue and synchronized sound effects and music, it "took the heat off" delivering humor in a strictly physical way. It didn't disappear
  6. I just watched Mickey, the Mabel Normand film, which is recommended viewing for Week 1. Can anyone explain to me why this movie is an example of slapstick comedy? It seems like a drama to me, what with the wanting to put down her dog, the greed of her relatives and her near rape towards the end of the film. There might be a couple of lighter moments, but there is almost none of the broad humor that Normand brought to Tillie's Punctured Romance. Calling Mickey a comedy is like calling Silverado a comedy just because John Cleese happens to be in it.
  7. I seem to remember a cartoon (probably Warner Brothers) that took this joke further. Man is using a hose. Boy stands on hose. Hose blows up and soaks boy. Although the Lumiere joke was probably fresh to the viewers, it eventually became cliché. Putting a further twist on the joke freshens it. Chaplin once described how to set up a joke. You show a banana peel. You show a man walking toward the banana peel. The man steps around the banana peel and falls into a open manhole.
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