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Transcript
00:00:00In 1900, when these films were made along New York's 5th Avenue, two newly born inventions
00:00:20were just beginning to shape and expand our lives, the automobile and the motion picture.
00:00:33We are traveling up turn-of-the-century Broadway, a street already world-famous for its swank
00:00:38restaurants, legitimate theaters, and electric lights.
00:00:43The first movie houses were not to be found here, but on the side streets.
00:00:47The lowly Nickelodeon catered to the common man, and from the beginning, comedy was king.
00:00:54As one showman pointed out, you can get an onion to make you cry, but nobody has discovered
00:01:00a vegetable to make you laugh.
00:01:02Films had to be hand-cranked by the weary projectionist.
00:01:07In this early French comedy, someone steals into the Paris Conservatory and makes the
00:01:11great master clock run fast, which speeds up time everywhere in the city.
00:03:11What a difference two decades made.
00:03:25This is 5th Avenue in the 1920s.
00:03:27The automobile had driven the horse from the streets to the racetrack.
00:03:32And this is Broadway in evolution through the roaring 20s, as it might have been viewed
00:03:37if we were riding H.G. Wells' time machine.
00:03:41This is 1920.
00:03:42Marion Davies is playing at the Globe.
00:03:45Stage attractions still dominate the Great White Way, like Cinderella on Broadway at
00:03:50the Winter Garden.
00:03:511921, midnight photo plays and Chalmers underwear.
00:03:571923, the cast of the Ziegfeld Follies includes Fanny Bryce, Burt Wheeler, and Paul Whiteman.
00:04:05In 1924, Broadway offers on stage the Marx Brothers, Fred Astaire, and Will Rogers.
00:04:121925, on screen, Lon Chaney is in The Phantom of the Opera.
00:04:18In 1926, Mae West makes headlines when her show is closed and she is sentenced to jail.
00:04:25The moving sign above the Capitol Theater in the distance proclaims Eric Von Stroheim's
00:04:30production, The Merry Widow, starring Mae Murray and John Gilbert.
00:04:36At the Astor, the big parade is in its second year.
00:04:42As 1926 ends, Beauget, starring Ronald Coleman, is at the Criterion.
00:04:48In 1927, the Criterion features Old Ironsides with Wallace Beery and Charles Farrell.
00:04:55Also in 1927, signs for the Student Prince and for Cecil B. DeMille's King of Kings light
00:05:01up the Broadway sky.
00:05:041928, white shadows in the South Seas, Lost in the Arctic, and a contest to find new kids
00:05:14for Our Gang comedies.
00:05:171929, silent films and the prosperous 20s bow out together.
00:05:22The lights of Broadway take on a special glow before the Depression dims them and World
00:05:26War II blacks them out.
00:05:29The sign for the part-talkie Noah's Ark combines electric bulbs and clouds of steam in a display
00:05:34stretching almost a block.
00:05:40Movie theaters had progressed from shabby Nickelodeon to shining palace.
00:05:45The old hand-cranked projectionist was only a memory.
00:05:50Through these early movie years, Oliver Hardy, first of our four clowns, played a part in
00:05:56the growth of silent comedy from rough beginnings to what many today consider a lost art.
00:06:02Here he supports Billy West, whose impersonation of Charlie Chaplin was so exact, it was uncanny.
00:06:10The girl is Leatrice Joy.
00:06:15Enter a sissy.
00:06:17He's Billy Quirk, the film comedy pioneer, once leading man to Mary Pickford.
00:06:47Oliver falls for Leatrice and invites her to the barber's ball, where trouble develops
00:07:16at once, and Billy West proves that when his body's in action, it's almost impossible
00:07:21to tell him apart from Charlie Chaplin's little tramp.
00:07:32The police arrive.
00:07:34They're looking for a Bay Rum addict with a mustache.
00:07:54In the hobo, Charlie, I mean Billy, has just collected a big reward.
00:08:15It looks like he's also won the girl from young Oliver Hardy, here minus mustache.
00:08:37As every moviegoer of 1917 expected, the romantic tables are turned so that Billy can give us
00:08:43a typical Charlie Chaplin pathos ending.
00:09:07Ten years later in No Man's Law, an offbeat Hal Roach western of 1927, Oliver Hardy plays
00:09:13the grubby villain Sharky Nye.
00:09:16The girl he's nearing at is lovely Barbara Kent.
00:09:20The other prong of this triangle is the girl's guardian stallion, Rex the Wonder Horse.
00:09:28Running through the woods, Barbara Kent will remind some moviegoers of Hedy Lamarr in Ecstasy,
00:09:34made a decade after this.
00:09:36But don't be concerned, Barbara's wearing a flesh-colored bathing suit.
00:09:41This is still a family picture.
00:10:06Barbara orders Rex to let Hardy alone.
00:10:31She shouldn't have.
00:10:34After a few kicks for good measure, the sensitive stallion retires to the upper ridges, leaving
00:10:39unprotected our Waif of the Wastelands.
00:11:42Hardy wants to play house.
00:11:54Rex is determined there'll be no house left to play in.
00:11:58This kind of thing could be hard on a villain's nerves.
00:12:28Hardy retreats.
00:12:34Rex forecloses the mortgage.
00:12:59The second of our four clowns is Stan Laurel.
00:13:07Before teaming with Oliver Hardy and perfecting the character of Oliver's beloved dim-witted
00:13:11friend, Stan often played brash go-getters, like this patent medicine salesman and bird
00:13:48On a corner nearby, Happy Harry, yesterday's playboy in need of refreshment.
00:14:16Watch those elevator shoes.
00:14:22Harry is beset by a government agent in this bygone age of prohibition.
00:14:46The warden discovers he has visitors in the carpet.
00:15:10It's worse than mice or moths.
00:15:12It's tunneling convict Oliver Hardy and his burrowing cellmate, Stan Laurel.
00:15:22This cow-roach comedy, The Second Hundred Years, was the first official Laurel and Hardy
00:15:27piece.
00:15:55To masterful Oliver Hardy, signs mean nothing.
00:15:59He demonstrates that to be a successful Christmas tree salesman in sunny California, you have
00:16:04to be both persistent and hard-headed.
00:16:32Often for visiting royalty, Laurel and Hardy register in style.
00:16:37Actually, Stanley and Oliver, who were always starting new jobs, are reporting as doormen
00:16:42from the bottom of the labor barrel.
00:17:35Quickly reduced to their proper station, Stan and Ollie become involved in a monetary crisis.
00:17:57Oliver Hardy versus the law.
00:18:23Oliver has a terrible time getting skittish Scotch nephew Stanley fitted for a pair of
00:20:11Oliver vows he'll get those measurements no matter what the consequences.
00:21:39Two tars on shore leave and shipwreck.
00:22:00The gum machine won't work.
00:22:02Neither will Thelma and Ruby.
00:22:04Demure damsels in distress always bring out the devil-may-care romantic side of Stanley and
00:22:10Oliver.
00:23:35Pick them up, says Stanley.
00:23:36Put them in here.
00:23:51Enter shopkeeper Charlie Hall, Laurel and Hardy's eternal opponent.
00:24:05Just cleaning things up, explains Oliver.
00:24:26Thelma commands, go help your shipmate.
00:25:56Their purple moment was dedicated to husbands who hold out part of their pay envelope on their wives
00:26:02and live to tell about it.
00:26:08Stanley hides his loot in a portrait of Uncle Sneed,
00:26:11a natural place to store money.
00:26:13Because he couldn't take it with him, Uncle Sneed wouldn't go.
00:26:17Guests arrive, friend Oliver and Mrs. Hardy.
00:26:37Mrs. Laurel replaces Stan's money with cigar coupons, the trading stamps of their day.
00:27:08Hardy's wife is a bloodhound.
00:27:11The most money he gets to keep is five cents car fare and he has to show the transfer.
00:27:16But Laurel explains he's a weasel with a hiding place even a wife couldn't find.
00:27:26Oliver, the financial advisor, has one-way pockets marked out.
00:27:32Naturally, he knows just the way to spend Stanley's savings.
00:27:38The town gossip.
00:27:48Fine day for mischief, observes Mrs. Fisheye.
00:27:52Let's go, says Oliver.
00:28:02So
00:28:19two guys who couldn't pay the bill are expelled from Eden, the cafe Eden, that is.
00:28:25They're followed by the girlfriends they left with a check, Kay DeLeese and Anita Garvin,
00:28:30a pair of roving debutantes.
00:29:01Oliver solves it all.
00:29:04They'll assume responsibility.
00:29:06The age of chivalry lives on, down to the last dollar Stanley thinks he has.
00:30:00So
00:30:30do
00:30:35cigar coupons.
00:30:48So
00:30:57put it on the check, says Stanley.
00:31:12A taxi driver joins the party.
00:31:15The girls, who believe in instant transportation, left him outside with a clock running.
00:31:21In 1928, there wasn't a man living who could lift the stuff you could buy with
00:31:26the amount on that meter. Sit down, have a steak, says good time Oliver.
00:31:45So
00:31:57do
00:32:12Oliver suggests a fast exit, the tippy-toe route.
00:32:27So
00:32:58do
00:33:07wait till this number's over, requests Hardy.
00:33:28So
00:33:40from a nightmare to grim reality, from a skirmish to Armageddon, here come the wise.
00:33:50So
00:33:57the head waiter, played by Tiny Sanford, is back.
00:34:00This time he'll either see green or red.
00:34:49So
00:34:58at this moment of crisis, Oliver announces he has an idea.
00:35:11Tell them your idea, Ollie, says Stanley.
00:35:14So
00:35:18we were heading for the bowling alley, explains Oliver, when Stanley dragged me to this den of
00:35:23vice. No one has replaced Laurel and Hardy, just as no one has replaced Chaplin or Keaton or Fields.
00:35:33Good comedians have many imitators. The great clowns stand alone.
00:35:44So
00:36:14so
00:36:44so
00:36:51so
00:37:11our third clown is Charlie Chase, the original good time Charlie whose elk's tooth had a cavity.
00:37:18Lindbergh had just flown the Atlantic. Lucky Lindy referred to himself and his plane as we,
00:37:24and the term became a household word. So Charlie made a comedy called
00:37:29Us, in which he tried to get up courage to take his first flight.
00:37:47Says the little old lady, it's great. Tomorrow I'll try wing walking.
00:38:17Says mother, flying soothes her better than a cradle.
00:38:48So
00:39:01says granddad, it sure beats goat land.
00:39:11Charlie cries, nothing can stop me this time. Made in 1927, this film is a memento of a time
00:39:18not so long ago when dusty cow pastures were transformed into airports.
00:39:23Planes were made of piano wire, canvas and plywood,
00:39:27and a five minute flight was one of life's great adventures.
00:39:41No refunds, yells the one man ground crew. Get in there and fly.
00:39:51We've got customers waiting for that coat.
00:40:11So
00:40:20so
00:40:34Another daring rescue ruined by lack of danger.
00:40:43The girl he thought he saved is an aviatrix, and Charlie's going up at last.
00:42:14So
00:42:22Charlie Chase's life was one long embarrassing moment.
00:42:43So
00:42:55In What Price Goofy, take off on the title of the then current stage hit,
00:43:00What Price Glory, Charlie has been asked to put up a certain Professor Boggs as house guest.
00:43:06He has no idea Professor Boggs is a beautiful woman with May Murray type beast on lips.
00:43:13Another visitor, Noah Young, a burglar so busy as crowbars suffering from mental fatigue.
00:43:21Butler Lucian Littlefield announces the professors in the guest room upstairs.
00:43:26Unsuspecting Charlie, who thinks all professors are old fogies,
00:43:30decides it's time to dress for dinner. En route home, Charlie's wife.
00:43:43So
00:44:13So
00:44:43Uh
00:45:13So
00:45:19Mrs. Chase arrives. Her sunny disposition resembles that of a hyena with a sore nose.
00:45:29Charlie admits the little woman while she's accusing him of stepping out. Noah's stepping in.
00:45:39So
00:45:42Chase calls the professor to dinner. In his Cal Roach comedies,
00:45:46poor Charlie was always innocent, but he got caught anyway.
00:45:53Buddy the Terrier is such a bad watchdog, he won't even watch.
00:45:57Hungry for culture, Noah stole a cap and gown before tackling the silverware.
00:46:03The professor misinterprets Charlie's pleading for silence
00:46:07as some kind of attack.
00:46:09Help!
00:46:12Help!
00:46:25Help!
00:46:35Who, me? I'm just taking out the laundry.
00:46:49So
00:46:54In Fluttering Hearts, Charlie Chase makes a clothes store dummy come alive.
00:46:59Oliver Hardy is the tipsy victim who couldn't and shouldn't believe his eyes.
00:47:19So
00:47:49So
00:48:19So
00:48:49The bugs are bad this year, observes Oliver.
00:49:04On movie night, Charlie's daughter, played by Edith Fellows,
00:49:08comes down with a hiccups. Old medicine man Charlie attempts to scare them away.
00:49:19Boo!
00:49:24Boo!
00:49:49Boo!
00:50:05Darn hiccups, that means no movie tonight. The cure is instantaneous.
00:50:19So
00:50:34More hiccups. Charlie, the good Samaritan,
00:50:37decides he'll use the same scare technique to cure the cashier too.
00:50:49So
00:50:56In Family Group, Charlie, wife, and baby pose for a portrait.
00:51:01Charlie's pea-shooting son is on the window seat. The photographer is Edgar Kennedy.
00:51:19So
00:51:30Without a balloon in the picture, Edgar's camera won't work.
00:51:49So
00:51:58So
00:52:29So
00:52:30Nothing could stop Charlie Chase in his everlasting journey from bad to worse.
00:52:35He buys all the balloons just in time for a California windstorm.
00:52:58So
00:53:04What's holding him up, wonders Gertrude Astor, as Charlie's wife. Look!
00:53:13Goodness, moans Mrs. Chase. This never would have happened if he'd eaten a heavy breakfast.
00:53:28So
00:53:58So
00:54:15Viola Richard's car runs wild in Limousine Love, a Charlie Chase misadventure in depth.
00:54:22So Viola's unhurt, but her flaming youth got all damp. She spots an empty limousine.
00:54:33Cars of the 20s with shades and cut glass vases made perfect dressing rooms.
00:54:38In today's models, you'd have a hard time dressing a midget.
00:54:46Meanwhile, Charlie, the limousine's owner, discovers gas trucks don't sell retail.
00:54:52There's adventure minus dressing ahead for Charlie,
00:54:56a bridegroom to be already late for his wedding.
00:55:22So Charlie discovers he had gasoline all the time.
00:55:27Remember when cars carried spare gas on their running boards?
00:55:31Remember when cars had running boards?
00:55:40So
00:55:47There go Viola's clothes, every stitch.
00:56:02Viola through the speaker, quick catch my clothing out the window. I'll explain later.
00:56:39So
00:56:46That's all there is, there isn't any more.
00:56:51A bride at the church, a naked woman in the car,
00:56:54and along hobbles Edgar Kennedy, the most persistent hitchhiker west of Upper Sandusky.
00:57:00You can have a lift, says Charlie, but not in the back seat. Not in the back seat.
00:57:10Charlie explains about his cargo in the rear, and Edgar smiles knowingly.
00:57:14He belongs to that great fraternity of men who have been around a bit themselves.
00:57:24Up roars a cop looking for contraband booze, flooding the land in these days of prohibition.
00:57:31Charlie has the guilty look of someone hauling bathtub gin.
00:57:34Pull over, orders the policeman. The presence of an arm of authority
00:57:39quickly transforms experienced Edgar from passenger to innocent bystander.
00:57:47Okay, brother, let's see what's inside, commands the law.
00:57:51No, no, pleads poor Charlie.
00:57:56Yes, yes, says the cop.
00:58:05So
00:58:12So
00:58:32It's all right, chum, I'm only looking for rum runners.
00:58:41Bootleggers, they were everywhere.
00:58:58Edgar suggests they circle his hotel and he'll pick up some clothing.
00:59:02But wouldn't you know it, Edgar's hotel is just the place they're holding Charlie's wedding.
00:59:11So
00:59:24I can't stop the car, yells Charlie. It's the pickup.
00:59:30The best man volunteers. I'll stop it.
00:59:33Charlie has to share his secret. The males of the 20s were not as yet fully domesticated.
00:59:39They stuck together. We can't stop. There's something wrong with her body.
00:59:53Her motor's racing. She needs to be greased.
01:00:04The case is hopeless. It's the naked truth.
01:00:07That's enough of that, says the father of the bride. I'll stop it.
01:00:20Now Charlie has to tell all the dear old dad.
01:00:24It happens to the best of us, says father.
01:00:26You should have seen what used to go on in my Stanley steamer.
01:00:36There's no stopping her now. She's stripped.
01:00:41When at 30, something's gumming up her wedding. Never underestimate the power of a woman.
01:00:58The determined to be bride kills the switch.
01:01:02My, my, says Charlie. Now, why didn't we think of that?
01:01:27One, two, up.
01:02:02What's going on here? Asks the bride.
01:02:05Oh, this is our lodge ceremony, explains quick thinking Charlie.
01:03:02So
01:03:16my goodness cries mother. Don't tell me you'd marry that leaping bedsheet.
01:04:02Off to his wedding goes Charlie Chase,
01:04:06man of the roaring twenties, a simpler, happier, and long vanished moment of time.
01:04:14Our fourth clown is Buster Keaton. He and friend J. Roy Barnes learned from lawyer Snits Edwards
01:04:20that Buster is to inherit $7 million, providing he is married by 7 p.m. on his 21st birthday.
01:04:30And when is his 21st birthday? That very day. The long arm of coincidence often stretched
01:04:37out of its socket in this era of moviemaking when fun was more important than logic.
01:04:46He's off to propose to Genevieve, his sweetheart since childhood.
01:05:29So
01:05:38my
01:05:58Buster's girl Genevieve is thrilled at first, but then he lets slip that business about seven o'clock
01:06:05and seven million dollars and the climate changes. She's afraid he wants to marry her for his money.
01:06:35So
01:06:50rejected by the girl he loves, poor Buster decides it doesn't matter whom he marries.
01:06:56He'll marry anyone who'll have him, even a golfette, as long as it's before seven o'clock.
01:07:35So
01:07:52prodded by friend and lawyer, Buster proposes on.
01:08:36So
01:08:45do
01:08:58soothed by mother, Buster's girl writes him a note
01:09:01translated from female into English. It reads yes.
01:09:06So
01:09:13Mary doesn't trust the phone. Anyway, in those days, proper girls didn't call boys.
01:09:19It wasn't ladylike. So she sends her message by Pony Express.
01:09:25So
01:09:30J. Roy Barnes has an idea. I'll get a bride, he says. Meet me at the Broad Street Church at five.
01:09:44Too late.
01:09:51Uh
01:10:13an acceptance at last. Is this movie over?
01:10:21Too early.
01:10:36Even if you play grown up in my makeup and coat, says mother, you're still only twelve.
01:10:45A proposal wheel to wheel.
01:11:09Barn's big idea.
01:11:28Give the story to the newspaper.
01:13:02There, says Barns, I've done it.
01:13:13Should flush out a bride or two.
01:13:42This comedy, Seven Chances, was made in 1925.
01:13:57Almost a half century later, Niagara Falls and Reno still signify the ins and outs of marriage.
01:17:39The minister speaks.
01:17:58Ladies, may I please have your attention?
01:18:03You're evidently the victims of some practical joker.
01:18:06I must ask you to leave the church as quickly and as quietly as possible.
01:19:06Buster gets the message.
01:19:15Genevieve is his.
01:19:18Nothing stands between our hero and happiness but time, space, and an unmarried mob.
01:19:44Keaton loses his watch.
01:19:46With that seven o'clock deadline looming ever nearer, he has to know the time.
01:20:14Upstairs, the life of somebody's party awakens to the morning after.
01:20:41Forty-five minutes left.
01:21:10Forty-five minutes left.
01:21:39Forty-five minutes left.
01:22:08Forty-five minutes left.
01:22:37Directions on the run.
01:22:46Bring the minister to Genevieve's house.
01:22:48I'll get there before seven if I can.
01:22:51This film was directed, apparently at full gallop, by Buster Keaton himself.
01:24:43Buster Keaton.
01:25:12Buster Keaton.
01:25:41Buster Keaton.
01:26:10Buster Keaton.
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01:26:40Buster Keaton.
01:26:41Buster Keaton.
01:26:43Buster Keaton.
01:26:44Buster Keaton.
01:26:45Buster Keaton.
01:26:46Buster Keaton.
01:26:47Buster Keaton.
01:26:48Buster Keaton.
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01:26:50Buster Keaton.
01:26:51Buster Keaton.
01:26:52Buster Keaton.
01:26:53Buster Keaton.
01:26:54Buster Keaton.
01:26:55Buster Keaton.
01:26:56Buster Keaton.
01:26:57Buster Keaton.
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01:27:00Buster Keaton.
01:27:01Buster Keaton.
01:27:02Buster Keaton.
01:27:03Buster Keaton.
01:27:04Buster Keaton.
01:27:05Buster Keaton.
01:27:06Buster Keaton.
01:27:07Buster Keaton.
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01:27:09Buster Keaton.
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01:27:11Buster Keaton.
01:27:12Buster Keaton.
01:27:13Buster Keaton.
01:27:14Buster Keaton.
01:27:15Buster Keaton.
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01:28:02Buster Keaton.
01:28:03Buster Keaton.
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01:28:05Buster Keaton.
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01:28:57Buster Keaton.
01:28:58Buster Keaton.
01:28:59Buster Keaton.
01:29:00Buster Keaton.
01:29:01Buster Keaton.
01:29:02Buster Keaton.
01:29:03Buster Keaton.
01:29:04Buster Keaton.
01:29:05Buster Keaton.
01:29:06Buster Keaton.
01:29:07Buster Keaton.
01:29:08Buster Keaton.
01:29:09Buster Keaton.
01:29:10Buster Keaton.
01:29:11Buster Keaton.
01:29:12Buster Keaton.
01:29:13Buster Keaton.
01:29:14Buster Keaton.
01:29:15Buster Keaton.
01:29:16Buster Keaton.
01:29:17Buster Keaton.
01:29:18Buster Keaton.
01:29:19Buster Keaton.
01:29:20Buster Keaton.
01:29:21Buster Keaton.
01:29:22Buster Keaton.
01:29:23Buster Keaton.
01:29:24Buster Keaton.
01:29:25Buster Keaton.
01:29:26Buster Keaton.
01:29:27Buster Keaton.
01:29:28Buster Keaton.
01:29:29Buster Keaton.
01:29:30Buster Keaton.
01:29:31Buster Keaton.
01:29:32Buster Keaton.
01:29:33Buster Keaton.
01:29:34Buster Keaton.
01:29:35Buster Keaton.
01:29:36Buster Keaton.
01:29:37Buster Keaton.
01:29:38Buster Keaton.
01:29:39Buster Keaton.
01:29:40Buster Keaton.
01:29:41Buster Keaton.
01:29:42Buster Keaton.
01:29:43Buster Keaton.
01:29:44Buster Keaton.
01:29:45Buster Keaton.
01:29:46Buster Keaton.
01:29:47Buster Keaton.
01:29:48Buster Keaton.
01:29:49Buster Keaton.
01:29:50Buster Keaton.
01:29:51Buster Keaton.
01:29:52Buster Keaton.
01:29:53Buster Keaton.
01:29:54Buster Keaton.
01:29:55Buster Keaton.
01:29:56Buster Keaton.
01:29:57Buster Keaton.
01:29:58Buster Keaton.
01:29:59Buster Keaton.
01:30:00Buster Keaton.
01:30:01Buster Keaton.
01:30:02Buster Keaton.
01:30:03Buster Keaton.
01:30:04Buster Keaton.
01:30:06Follow me, directs the lead Amazon.
01:30:08I know a shortcut.
01:30:09We'll head him off at the patch.
01:30:35I'm going to have to get you out of here.
01:30:37I'm going to have to get you out of here.
01:30:39I'm going to have to get you out of here.
01:30:41I'm going to have to get you out of here.
01:30:43I'm going to have to get you out of here.
01:30:45I'm going to have to get you out of here.
01:30:47I'm going to have to get you out of here.
01:30:49I'm going to have to get you out of here.
01:30:51I'm going to have to get you out of here.
01:30:53I'm going to have to get you out of here.
01:30:55I'm going to have to get you out of here.
01:30:57I'm going to have to get you out of here.
01:30:59I'm going to have to get you out of here.
01:31:01I'm going to have to get you out of here.
01:31:03I'm going to have to get you out of here.
01:31:05I'm going to have to get you out of here.
01:31:07I'm going to have to get you out of here.
01:31:09I'm going to have to get you out of here.
01:31:11I'm going to have to get you out of here.
01:31:13I'm going to have to get you out of here.
01:31:15I'm going to have to get you out of here.
01:31:17I'm going to have to get you out of here.
01:31:19I'm going to have to get you out of here.
01:31:21I'm going to have to get you out of here.
01:31:23I'm going to have to get you out of here.
01:31:25I'm going to have to get you out of here.
01:31:27I'm going to have to get you out of here.
01:31:29I'm going to have to get you out of here.
01:31:31I'm going to have to get you out of here.
01:31:33I'm going to have to get you out of here.
01:31:35I'm going to have to get you out of here.
01:31:37I'm going to have to get you out of here.
01:31:39I'm going to have to get you out of here.
01:31:41I'm going to have to get you out of here.
01:31:43I'm going to have to get you out of here.
01:31:45I'm going to have to get you out of here.
01:31:47I'm going to have to get you out of here.
01:31:49I'm going to have to get you out of here.
01:31:51I'm going to have to get you out of here.
01:31:53I'm going to have to get you out of here.
01:31:55I'm going to have to get you out of here.
01:31:57I'm going to have to get you out of here.
01:31:59I'm going to have to get you out of here.
01:32:01I'm going to have to get you out of here.
01:32:03I'm going to have to get you out of here.
01:32:05I'm going to have to get you out of here.
01:32:07I'm going to have to get you out of here.
01:32:09I'm going to have to get you out of here.
01:32:11I'm going to have to get you out of here.
01:32:13I'm going to have to get you out of here.
01:32:15I'm going to have to get you out of here.
01:32:17I'm going to have to get you out of here.
01:32:19I'm going to have to get you out of here.
01:32:21I'm going to have to get you out of here.
01:32:23I'm going to have to get you out of here.
01:32:25I'm going to have to get you out of here.
01:32:27I'm going to have to get you out of here.
01:32:29I'm going to have to get you out of here.
01:32:31I'm going to have to get you out of here.
01:32:33I'm going to have to get you out of here.
01:32:35I'm going to have to get you out of here.
01:32:37I'm going to have to get you out of here.
01:32:39I'm going to have to get you out of here.
01:32:41I'm going to have to get you out of here.
01:32:43I'm going to have to get you out of here.
01:32:45I'm going to have to get you out of here.
01:32:47I'm going to have to get you out of here.
01:32:49I'm going to have to get you out of here.
01:32:51I'm going to have to get you out of here.
01:32:53I'm going to have to get you out of here.
01:32:55I'm going to have to get you out of here.
01:32:57I'm going to have to get you out of here.
01:32:59I'm going to have to get you out of here.
01:33:01I'm going to have to get you out of here.
01:33:03I'm going to have to get you out of here.
01:33:05I'm going to have to get you out of here.
01:33:07I'm going to have to get you out of here.
01:33:09I'm going to have to get you out of here.
01:33:11I'm going to have to get you out of here.
01:33:13I'm going to have to get you out of here.
01:33:15I'm going to have to get you out of here.
01:33:17I'm going to have to get you out of here.
01:33:19I'm going to have to get you out of here.
01:33:21I'm going to have to get you out of here.
01:33:23I'm going to have to get you out of here.
01:33:25I'm going to have to get you out of here.
01:33:27I'm going to have to get you out of here.
01:33:29I'm going to have to get you out of here.
01:33:31I'm going to have to get you out of here.
01:33:33I'm going to have to get you out of here.
01:33:35I'm going to have to get you out of here.
01:33:37I'm going to have to get you out of here.
01:33:39I'm going to have to get you out of here.
01:33:41I'm going to have to get you out of here.
01:33:43I'm going to have to get you out of here.
01:33:45I'm going to have to get you out of here.
01:33:47I'm going to have to get you out of here.
01:33:49I'm going to have to get you out of here.
01:33:51I'm going to have to get you out of here.
01:33:53I'm going to have to get you out of here.
01:33:55I'm going to have to get you out of here.
01:33:57I'm going to have to get you out of here.
01:33:59I'm going to have to get you out of here.
01:34:01I'm going to have to get you out of here.
01:34:03I'm going to have to get you out of here.
01:34:05I'm going to have to get you out of here.
01:34:07I'm going to have to get you out of here.
01:34:09I'm going to have to get you out of here.
01:34:11I'm going to have to get you out of here.
01:34:13I'm going to have to get you out of here.
01:34:15I'm going to have to get you out of here.
01:34:17I'm going to have to get you out of here.
01:34:19I'm going to have to get you out of here.
01:34:31Married in the nick of time
01:34:33Eternal happiness
01:34:35Love. Wealth.
01:34:37No worries, except
01:34:39keeping out of the way of a few thousand
01:34:41disappointed brides.
01:34:49♪
01:34:54♪
01:34:59♪
01:35:04♪
01:35:09♪
01:35:14♪
01:35:19♪
01:35:24♪
01:35:29♪
01:35:32Did you pick out 18-year-old Jean Harlow?
01:35:34She was the woman who lost her dress
01:35:36in Laurel and Hardy's Double Whoopie.
01:35:39She continued to play small roles in short features
01:35:41for two more years before Howard Hughes cast her
01:35:43in Hell's Angels.
01:35:45And finally, who was this guy, Charlie Chase?
01:35:48Well, he was a very talented fellow
01:35:50from Baltimore, Maryland.
01:35:51He starred in, produced, wrote, or directed
01:35:53an amazing 155 films for HowlRote Studios,
01:35:58most of which were shorts.
01:35:59And he also appeared with many of the top comedy stars
01:36:02of the day, including Charlie Chaplin
01:36:04and Laurel and Hardy, of course.
01:36:06In the late 30s, he directed some
01:36:08of the early Three Stooges pictures.
01:36:10But success didn't make Charlie Chase very happy.
01:36:13He was always a very heavy drinker,
01:36:15and he had an unhappy marriage,
01:36:17and that made it a lot worse.
01:36:18And he was just 46 years old
01:36:21when he died of a heart attack.
01:36:23Now, I come from Baltimore,
01:36:24and he was one of our very big stars.
01:36:27We were very proud of him.
01:36:28He was a very talented man,
01:36:29and his name is remembered by movie buffs
01:36:31around the world.
01:36:32Now, watch this.
01:36:34Now, watch this.