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About CHamby

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  • Birthday 01/16/1988

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    Walkersville, Maryland
  • Interests
    Classic/Cult Film & TV Programs, Photography, Blog Writing and visiting museums (along with National Parks and Historic Sites).
  1. 1. Mel Brooks' 1974 farce, "Young Frankenstein" captures the essence of the classic Universal Studios horror films of the 1930s in many ways- due in part to the black and white cinematography, the setting (the laboratory at Castle Frankenstein in Transylvania), the authentic props that were used in the laboratory sequence, the characters (including Gene Hackman's portrayal of the blind man- in the scene that parodies the scene in the 1935 Universal film "Bride of Frankenstein" where Frankenstein's monster encounters the blind man). Paired with the comic genius of Mel Brooks and Gene Wilder, "Young Frankenstein" is the perfect comedic tribute to the vintage Universal horror films. 2. This is relevant in the scene where Dr. Frederick Frankenstein (Gene Wilder) is lecturing to his medical students by showing his human subject, softly speaking about Motor Impulses, and then shocking his subject by shouting insults (in relation to pain/violence, busting his subject and then scaring him after yelling near the end). 3. It was logical to film "Young Frankenstein" in black and white to capture the essence of the classic Universal horror films, to give the comedy the "eerie" feeling that the vintage Universal horror classics had, through the rich, deep contrast of black and white cinematography. If Brooks' film were shot in color, then it would lose its authentic edge- and it wouldn't have looked like a tribute to "Frankenstein," "Bride of Frankenstein" and all of the other vintage Universal monster/horror films of the 1930s. I enjoyed watching "Young Frankenstein" on Turner Classic Movies last evening! I'm looking forward to tomorrow's showing of the film (as part of the network's tribute to the late Gene Wilder).
  2. 1. Dale's definition of "verbal slapstick" fits well with this classic scene between Groucho and Chico from The Marx Brothers' "A Night At The Opera" (1935)- hands down (with perfect pacing, timing and snappy dialogue). 2. Characteristic "Gags' that were included in this scene from "A Night At The Opera:" A well-rounded mix of puns, one-line references, and chaotic metaphors. 3. For "verbal slapstick," four of the five conditions for slapstick comedy would be used to achieve this (in order to grab the audience's attention), including exaggeration, repetition, make-believe and pain.
  3. One of the all-time great moments in cinematic slapstick comedy, as the Marxes' stateroom scene (in "A Night at the Opera") is one of the essential examples of verbal slapstick. Watched "A Night At The Opera" last night- and as always, highly entertaining! Enjoyed watching W.C. Fields in "The Bank Dick" (1940)- looking forward to the next feature, "Abbott & Costello Meet Frankenstein" (1948)!
  4. The slapstick elements of Charley Chase’s scene in the Hal Roach comedy “The Pip From Pittsburgh” that are represented include physical (when his face is being squirted after he inserts a coin, exaggerated (his facial mannerisms throughout the clip), make believe (when he is looking at a mirrored image of himself on another man’s jacket when shaving his face). The only painful element would be when he was squirted in the face. I feel that Gerald Mast’s description of Charley Chase, and that his greatest emotion (in his filmed comedies and shorts) that his greatest strength on the silver screen was exasperation (his facial mannerisms and reactions to the gags and being a loudmouth when speaking to others). In this early Hal Roach talkie, I feel that the synchronous dialogue and sound effects were used well, since this was a staple of most Hal Roach short comedies in the early years of sound pictures (especially in Laurel & Hardy’s shorts for Roach, along with Charley Chase’s). Looking forward to tonight's lineup of classic slapstick (including Hal Roach comedies and "A Night At The Opera" with the Marx Brothers)!
  5. Another exciting and informative episode of "Breakdown of a Gag" (focusing on Buster Keaton's stunts). As one of the geniuses of slapstick comedy, Keaton risked his own life by performing his own dangerous stunts, including the aforementioned clips from "One Week" (1920) and "Steamboat Bill, Jr." (1928).
  6. Fascinating Breakdown on the physical comedy of Charlie Chaplin (presented by Professor Edwards of Ball State and Vince Cellini of TCM's sister broadcast unit, Turner Sports). If you look closely at the first breakdown (of Chaplin's Banana Peel gag from his 1915 silent, "By The Sea"), after the gag too place (when Chaplin's bowler hat comes off)- it looks like that there is a string attached to his hat- something that I've never noticed before!
  7. I would highly agree with the elements needed for slapstick- exaggeration, ritualistic, physical, make-believe and a hint of violence (non-threatening). On another note, timing and pacing are essential (and crucial) to the art (and perfection) of perfect slapstick comedy. Without perfect timing (and pacing) in slapstick, the audience would possibly lose interest in the film. Quirkiness could also apply to the perfection to slapstick. In my view, I feel that there would be no changes to the current elements of slapstick, I enjoyed tonight's presentation of "The Birth of the Tramp" (2014), Chaplin's "A Dog's Life" (1918) and "The Circus" (1928, which I am currently watching on TCM).
  8. Hi, Everyone! I am honored to be a part of the TCM & Ball State University online course on Slapstick Comedy. I enjoyed watching the first set of films last evening in the network's salute to slapstick comedy. I will be catching up with this course. The first slapstick motion picture, "L'Arroseur Arrosé" (1896, remade in 1897) is significant to the foundations of slapstick comedy, as it was an essential building block for this motion picture genre. In connection to one of Gerald Mast's questions in regards to the short, the comedic discovery of "L'Arroseur Arrosé" occurs when the young man sneaks up into the garden while the gardener is watering his plants, later leading to the chaotic moment in the short. "L'Arroseur Arrosé" is one of the essential building blocks in the art of slapstick comedy, as Augustus and Louis Lumière made cinematic (and comedic) history in 1896 (remade in 1897 by Alice Guy for Gaumont). This short would possibly inspire future slapstick comedies made by Mack Sennett, Roscoe Arbuckle, Harold Lloyd, Charlie Chaplin, and Hal Roach (just to name a few). Looking forward to tonight's other set of vintage silent slapstick comedies (after the 2014 documentary on Charlie Chaplin, "The Birth of the Tramp" at 8 p.m. eastern)!
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