Gary Johnson wrote:Is Lane's experience with sound shorts similar to Langdon's at Roach
where not enough time was given him to become acclimated to the
new medium or was the writing on the wall that this was not his cup
of tea? (Look! A British reference...)
There may be a reason why only a few silent clowns made the successful
transition to sound ala Laurel & Hardy.
Steve Massa wrote:For Lane I think the beginning of sound was just a period of adjustment - seeing exactly what in his large bag of tricks still worked and what needed to be discarded. Also what type of comedy would work for him in the new medium. He's wonderful in Ernst Lubitch's THE LOVE PARADE ('29), and uses a lot of his old stock in trade, particularly with Lillian Roth in their LET'S BE COMMON musical number. He continued doing films (and directing them) in England until ME AND MY GIRL took over his career (he's good in the film version of that too).
Paul F Etcheverry wrote:RE: Monty Banks. . . I recall seeing a Monty Banks-directed one reeler titled The Musical Beauty Shop, one of those entertainingly odd novelty shorts that were plentiful in the early talkie era, quite some time ago. Kit Parker used to rent it out way back when.
RE: Lupino Lane
Louie Despres wrote:Richard M Roberts wrote:The most spectacular stunt I've ever seen him do is in the 1935 film THE DEPUTY DRUMMER where he headlong somersaults at the top of a flight of stairs, hits a middle step with his foot on the turn, and lands at the bottom of the stairs...
RICHARD M ROBERTS
WOW! I'd LOVE to see that!
Steve Massa wrote:Like Richard I've also seen three - SHIP MATES, BUYING A GUN, and PURELY CIRCUMSTANTIAL... BUYING A GUN is an extended sketch with his brother Wallace, and is mostly dialogue and word play. I've heard good things about FIRE PROOF from a few friends who have seen it.
Richard M Roberts wrote: Excuse me? Langdon was given all the time he needed at Roach to make his first talkies, and they're fine.
Gary Johnson wrote:Richard M Roberts wrote: Excuse me? Langdon was given all the time he needed at Roach to make his first talkies, and they're fine.
I wasn't referring to production time as much as time to allow the series to gel. He only got to make 8 shorts before the plug got pulled.
His last four shorts showed that he was starting to find interesting comic variations with sound.
I understand there were behind the scenes problems between Roach & Langdon but Roach was suppose to be - first and foremost - a businessman. Was it so bad that he could even let him finish out the series?
Now then, how serious is the tale that Roach was contemplating hiring Keaton in the mid 30's?
Users browsing this forum: No registered users and 1 guest