Roscoe “Fatty” Arbuckle was a huge (no pun intended) but beleaguered star in the early 20th Century. He had a tough life and he died young (https://en.wikipedia.org/wiki/Roscoe_Arbuckle). After a start in vaudeville, he became one of Hollywood’s first movie stars, quickly negotiating a deal worth a million dollars a year plus a quarter of the profits from his films (https://www.thehairpin.com/2012/02/scandals-of-classic-hollywood-the-destruction-of-fatty-arbuckle/). On top of it, he got total artistic control.
It all came to a screeching halt when a young alcoholic actress died after a hotel party he threw, and he was accused of rape. It was Hollywood’s first big scandal, and it ended his career (http://www.smithsonianmag.com/history/the-skinny-on-the-fatty-arbuckle-trial-131228859/).
Incidentally, that hotel party occurred in San Francisco exactly 96 years ago on the day after this post.
Today, I saw my first Fatty Arbuckle film — and it only took me 108 years (https://en.wikipedia.org/wiki/Roscoe_Arbuckle_filmography). I had a loose idea of what to expect but I wasn’t quite sure. Fatty’s Tintype Tangle is familiar and not too crazy, the cinematic equivalent of something that tastes like chicken.
WARNING: Potential spoilers ahead!
A slapstick farce, Fatty’s Tintype Tangle tells of a husband (Arbuckle) whose mother-in-law (Mai Wells) nags the shit out of him. He and his wife (Norma Nichols) laugh at her behind her back. After getting liquored up in the kitchen while cooking breakfast, Fatty tells off his mother-in-law and either throws her ass out of his house or upsets her to the point that she gets up and goes — it’s hard to say.
Fatty goes to the park, where he sits on a bench next to a woman (Louise Fazenda) whose husband (Edgar Kennedy) momentarily leaves her to go do something — the scene card tells us they’re Alaskan “homeseekers,” whatever that is. They seem down and out, staying at an obviously low rent room and board. A photographer (Glen Cavender) snaps their picture — hence the “tintype” in the title — which isn’t cool because, well, they’re both married. The husband returns, mistakes Fatty for a creep, and threatens to kill him if he doesn’t leave town.
Fatty runs home and packs his bags — including his booze. He tells his wife he’s going on a business trip. Despondent, she answers an ad in the paper from someone seeking an apartment. She rents out the house and apparently moves in with her mother. Turns out, her tenants are the Alaskan couple. Doh!
Fatty misses his train and goes home. Unbeknownst to him, the Alaskan woman is in his bathroom. Hilarity ensues.
Fatty’s Tintype Tangle has all the elements of early comedy, a lot of it cliché now: misunderstandings, the hapless henpecked male, a slip and fall on a banana peel, gunshots to the ass, even Keystone cops. The only thing missing is a pie in the face. A rather cool extended scene features Arbuckle climbing up a pole and running across power lines. I was impressed to see him doing his own stunts; he was surprisingly limber for such a big guy.
Slapstick isn’t my favorite form of entertainment, but this is solid physical comedy even if it’s hard to follow at points. The version I saw had no sound at all, which was a bummer — hearing myself breathe adds nothing to the experience.
In 1995, the United States Library of Congress deemed Fatty’s Tintype Tangle “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry (https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/).
With Frank Hayes, Joe Bordeaux, Bobby Dunn, Ted Edwards, Charles Lakin
Production: Keystone Film Company
Distribution: Mutual Film Corporation