Written by Trudy L. Bockoven
Feb. 27, 2008
Silent Comedy—A Funny Sight to See
Picture two coats hanging from pegs
on a wall. It is not a funny image. But take those two coats, place a man inside
of each, and hang the coats again on the pegs, with the men’s legs and arms
hidden from view, and that is a funny
image. It is also an ingredient vitally
essential to silent film comedy—visual humor. In many ways, viewing the comedy
can be even more entertaining than hearing the comedy. Consider the party game of charades. If a person verbally gives clues to the book,
movie, or phrase they want others to guess, it is not as funny. Instead, they must act out the phrase without
talking and their wild gestures, expressions, and mannerisms make for hilarious
fun. It is the same concept for silent
film comedy—show them, do not tell them. Without the use of language, the
audience needs to see what is comical; therefore, the comic actors use plenty
of physical comedy such as pratfalls, facial expressions, slapstick, and sight
gags. This is a closer look at the
particular techniques that help make silent comedy so laugh-out-loud funny!
PRATFALLS. Authors Scott and Barbara Siegel describe a
pratfall as “…the comic term for landing on one’s hind quarters without injury”
(226). Falling on the rear end sounds easy
enough, after all…most of the audience has experienced landing on his or her
rump at some point without even trying.
Maybe that is what makes a pratfall so comical—it is funny when it
happens to someone else. The pratfall is
not necessarily an easy feat; it takes planning, practice, and coordination to
fall without causing injury. Falling on
the derriere gets more laughs than, say, simply falling down. For some reason (perhaps a juvenile response)
the audience has a fascination with the backside of a person’s front and enjoys
seeing it landed on, and the more artful the landing, the better. “Before the coming of sound, physical humor
was especially highly prized, and its practitioners, such as Charlie Chaplin, Buster
Keaton, and Fatty Arbuckle, were among those who took pratfalls with the
greatest comical grace” (Siegel 226).
Charlie Chaplin uses pratfalls
several times in The Tramp. Early in the film, he walks along a dirt
road. A car passes by causing him to
lose his balance and he falls on his behind.
However, his fall does not end on his rear end, instead, the fall
continues with his legs flying up and over his body until he is practically on
his shoulders with his rump in the air.
It is clumsiness and poetry rolled into one humorous technique. The audience barely recovers from laughing
over his artful fall, when along comes another vehicle causing the tramp to
land on his hind end once again.
Although there are many pratfalls in the film, each one is
different. The audience can quickly get
bored seeing the same stunt pulled over and over again. To keep a pratfall fresh and funny, the
comedian uses clever ways to “reinvent” the fall. Chaplin was expert in making each pratfall
seem unique. For instance, another
classic pratfall in the film takes place when the tramp lands with his hind-end
on a burning hot rock, making his britches smoke as though on fire. The reinvention pays off with laughter from
the viewers. Pratfalls, when
artistically executed, work to set a comic atmosphere.
FACIAL EXPRESSIONS. Many silent film comedians have
almost signature facial expressions.
Consider Stan Laurel with his eyes squinting shut and his face puckering
up as though he is about to cry. Oliver Hardy has a way of staring into the camera in disbelief before smacking
Laurel. The naïve baby-face expressions
of Harry Langdon produce laughter too.
Buster Keaton, on the other hand, earned famed for his lack of expression. “From the very beginning, his persona was the
same: the unsmiling stone face. Keaton
had developed his stoic expression very early on in his vaudeville career,
noting that audiences laughed when he didn’t smile” (Siegel 153). A good example of his “stone face” is in the
film The General. Keaton’s character, Johnnie Gray, is a railroad
engineer. A loose boxcar is in front of
his engine as he chases Union soldiers.
He looks away and does not see debris (thrown by the soldiers) derail
the boxcar. When he looks forward and
realizes the boxcar is gone, his blank expression somehow registers total
confusion and amazement. He is nearly
expressionless as he stares ahead in disbelief.
He blinks, looks behind to see if the boxcar is somehow back there, and
then looks forward again. He tilts his
head and moves his eyes from one side to the other, still searching for the
boxcar. His lack of expression during
that scene creates a very funny moment in the film. The audience expects a look of surprise or
shock; Keaton gives them the unexpected—a deadpan expression—making the scene
far funnier. Facial expressions (or the
lack thereof!) are forms of physical comedy.
Words are not necessary when the face expresses the reaction to
situations.
SLAPSTICK. According to Webster’s Dictionary, slapstick
is “a stick or lath used by comic performers or characters for striking other
persons, esp. a pair of laths that produce a loud noise without causing injury”
(1257). “Without causing injury” are the
key words. Slapstick is the term used
for the horseplay and roughhouse behavior within a film that does not cause
physical harm. For instance, a character
receives a blow to the head with a mallet, yet receives no injury. It is physical abuse without the physical
harm and it is especially physical comedy.
“Slapstick was as natural to the silent screen as were the
action-melodramas and spectacles, and for the same reason: It utilized those
aspects of the world best communicated through the moving image, those not
requiring the supplement of language” (Wexman 37).
A scene in The Butcher Boy (with Roscoe C. “Fatty” Arbuckle) gives a great
example of slapstick. The character of
Alum (the head clerk) punches Fatty in the stomach, twice. Fatty then uses his large stomach to punch
Alum, sending him into a pratfall with his legs flying overhead. Slapstick abounds as the scene continues with
Fatty pelting Alum (and others) with bags of flour. Pies are thrown, a small keg hits Alum in the
side of the head, the manager smacks Alum with a broom. It is utter chaos but no injuries occur in
spite of the blows to the head, punches to the stomach, and other roughhouse
behavior.
If a person saw someone get slugged
in the stomach, or hit in the head with a keg, it would not be a laughing
matter in reality; but, in film the audience understands that the behavior is beyond
what is perceived as common sense and the viewer feels free to laugh. It is almost a wicked pleasure to laugh at
such antics when the viewer considers the times he or she would relish punching
a foe in the face.
SIGHT GAGS. Sight gags are visual jokes—“visual
incongruities and surprises” (Wexman, 35). In a manner of speaking (pun
intended!), the viewer did not need any dialogue to understand the humorous
situation. With no sound in the films,
sight gags are a main staple of silent comedy.
Author Geoff King writes, “Where the story outline was developed first
in the silent era, it was often adjusted to fit the selected gags…” (31). Sight gags usually consist of someone or
something being the wrong size (or visually incongruent in size like thin Laurel
next to wide Hardy), or a person behaving odd for the circumstances they are
in, or an object used in an unusual manner.
An example of a “wrong size” sight
gag is Fatty Arbuckle dressed as a girl (The
Butcher Boy). It is visually funny
to see such a rotund full-grown man dressed as a young girl with hair in
ringlets and large feet in Mary Jane shoes!
Another example of “wrong size” is the tramp using a simple watering can
to water an entire orchard one tree at a time (Charlie Chaplin in The Tramp). Many comedians of the silent era also chose
“wrong size” clothing for visual humor: shoes too big, suit coat too small,
pants too short.
Strange behavior is visually funny
too. In The General, there is a scene where Annabelle Lee (Marion Mack) behaves very
oddly. She is in a train engine with
Johnnie pursued by enemy soldiers. It
should be a very tense situation, yet she picks up a broom and starts tidying
the area as though she is keeping house!
Her peculiar actions provide a sight gag since it catches the audience
by surprise. It is unexpected behavior
for the circumstance.
Another form of a sight gag is the
clever use of an ordinary object. Using
a ladder for a ladder is ordinary; using a porch rail for a ladder is unusual
and funny. The element of surprise
creates laughter as Keaton yanks the porch rail off the house and then ascends
it like a ladder (One Week). Also consider this: A dog running is
ordinary, but a dog running on a treadmill to grind pepper is visually funny,
using the dog in an unusual manner (Luke, The
Butcher Boy).
“In silent comedy the gag
construction could advance unimpeded: No
pause was needed for lines to be heard and laughs registered” (Wexman 38). Sight gags of size, absurd behavior, and
unusual methods abound in silent comedy.
The visual gags catch the audience by surprise and a surprised audience
is a laughing audience.
Pratfalls, facial expressions,
slapstick, and sight gags are techniques of physical comedy used within silent
comedy films. They are successful in
creating the comic atmosphere for films without the assistance of
language. What’s more, the effects of
physical comedy also work well with sound.
Silent comedy laid the foundation for sound comedy to stand on, and many
of the successful comedy films since the silent era manage to combine both
physical and verbal comedy. The influence of physical comedy from yesteryears,
though termed as silent comedy, still echoes loud and clear into the future
of film.
NOTE: I have the citation references, but opted not to
publish them along with this post (hopefully making it more difficult to plagiarize in full). If you would like to know a specific source, please ask, and I will gladly provide the information.
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