Comic influences

No, this isn't about humor. It's about silent actors/characters who have influenced comics. I was surprised to find that silent film still has this kind of influence on popular culture, though most people don't know it.

The character of Superman was based on two wildly popular performers of silent cinema. Harold Lloyd - more specifically, his "Glasses" character - was the inspiration for the character of Clark Kent. The physique of Superman was modeled on the astoundingly fit Douglas Fairbanks.

Silent and sound actor Jack Holt provided the features for Dick Tracy.

ZaSu Pitts was lampooned by voice talent Mae Questel in the character of Olive Oyl; Pitts's nervous, "oh dear" mannerisms were used to great effect.

One of the most surprising, for me, is Conrad Veidt, as Gwynplaine from The Man Who Laughs. This sympathetic 17th-century character, who has had his mouth deliberately carved into a permanent smile by his father's enemies and who is forced to work in a traveling show, provided the look for a famous villain. Let's see - who could that villain have been?

Take a look above.

In case you still don't know - and I admit, the image could show more of his face - the character is the Joker, from the Batman series.

Action figures

Why don't we have more of these?

I discovered a wonderful action figure of Lon Chaney from the famous (and, sadly, lost) film London After Midnight. You can also get figures of him as Erik in Phantom of the Opera and as Quasimodo in The Hunchback of Notre Dame.

I did find, much to my delight, a series called Silent Screamers Action Figures. These gems include the Frankenstein monster from Edison's 1910 version of the classic tale (in which Charles Ogle played the monster) and Count Orlok from Murnau's classic Nosferatu.

These figures were all sold out at the website I checked. But they're sold all over the place.

How about some other figures?

- John Gilbert and Lillian Gish in La Boheme

- Valentino and Agnes Ayres in The Sheik

- Buster Keaton and Brown Eyes in Go West

- Harold Lloyd and Jobyna Ralston in Girl Shy

- Ronald Colman and Vilma Banky in any of their movies

- Richard Barthelmess and Lillian Gish in Way Down East

- Wallace Reid and Gloria Swanson in The Affairs of Anatol

- George O'Brien and Janet Gaynor in Sunrise

Come on, people! Get with it! Make some!

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Lloyd's romances

I'll say it right out: I am not a fan of Chaplin.

Go ahead and scream, then turn on your favorite of his movies; I can watch his work, but I don't view him as a genius. Keaton, yes. Chaplin, no.

However, this post is about Harold Lloyd. I just had to get the Chaplin talk out of the way.

I do like Lloyd, very much; he is second to the great Buster in silent comedy. I like his romantic comedies the best, since he is rather abrasive in some of his earlier films. The movies with Jobyna Ralston are my favorites, not only because of their perfect screen chemistry, but also because of the sweet-natured storylines. Girl Shy is, in my opinion, the best film Lloyd ever made, and it was a wonder to me to discover that it influenced The Graduate, more than forty years later.

When Lloyd isn't being the brash young man, he is very effective and believable in a romantic film. Girl Shy works in large part because the character of Harold Meadows is very shy, withdrawn, and due to a stutter, largely unable to communicate with women - not that he would know what to say to most women anyway, as we see in the film. His meeting with Mary on the train, at first stuttering madly, then talking to such an extent that they don't notice their train has arrived and that they are the only passengers still on it, is one of the best scenes in the film. Lloyd also has Ralston making the first move; as Harold stands outside her taxi, trying to look reserved and studly, Mary leans out and kisses him on the mouth.

Girl Shy and The Freshman have a similar scene concerning the character of Harold and his beloved. In Girl Shy, Harold views Mary's reflection in the water and sighs longingly; in The Freshman, he wipes the soap off the mirror in his room only to see, not himself, but Peggy, standing in the doorway behind him. It works, both times.

In the earlier films I've seen, with Bebe Daniels, there is more of a sexual element to the proceedings; that image of Lloyd and Daniels eating ice-cream cones and eyeing each other, is a prime example. In his films with his soon-to-be-wife, Mildred Davis, this element is toned down somewhat, though Lloyd's characters still tend to grate on the nerves. It's with Jobyna Ralston that he shows a softer, vulnerable side, as when Harold breaks down and cries in Peggy's lap in The Freshman. In The Kid Brother, he is so eager to keep Mary in sight that he climbs ever higher in a tree, then falls out of it. In For Heaven's Sake, after Mary tells him off in public, he smiles in wonderment and gladly tours the mission with her, remarking "Very pretty," as he looks at her, not at the surroundings.

Lloyd could, in my opinion, have been a leading man in dramatic roles, too; he had the talent, and he certainly had the looks! He was very effective at glamming down for his films, hiding his beautiful face under makeup and behind glasses (and when the glasses were removed, people didn't recognize him). On the other hand, had he done so, we might not have this wonderful set of films to view.

Performances

Here is a list of some of my favorite performances in silent film. Yes, I'm sure I'll be returning to this topic, too.

Lillian Gish. Well. Is there anything Lillian couldn't do? I doubt it. I don't have just one favorite performance; here are some of them:

Lucy in Broken Blossoms. Pushing up the corners of her mouth in a rictus rather than a smile, while her eyes overflow with terror; regarding a doll with wonder and quiet joy.

Anna in Way Down East. The baptism scene is my favorite in the movie. She gently applies water to the baby's head, then looks heavenward with an expression of pleading on her face. Lillian claimed that the baby's father, who was watching the filming of this scene, fainted while it was being filmed. She heard a thump as he slid to the floor.

Mimi in La Boheme. Starving herself for three days to make her death scene more realistic. Holding the back of a cart and letting it drag her along a street. Throwing herself at John Gilbert as he attempts to storm out of the room. Everything works in this performance.

Okay, on to other performers.

John Gilbert in The Show. God, what a triumph it was for him, and what a great talent was dimmed so soon. He's the ultimate anti-hero; someone you simply can't stand, with no redeeming qualities whatsoever, but Gilbert makes you watch him. You can't take your eyes away.

Henry B. Walthall in The Birth of a Nation. Such a shame the film took the slant that it did. Walthall effortlessly takes control of his scenes, matched only by Lillian Gish as his love interest. His best scenes, for me, are the battle scenes where Ben Cameron is ducking bullets; the scenes in the hospital, when he is recovering from his wounds; and the love story with Elsie Stoneman.

Conrad Veidt in The Man Who Laughs. Having the corners of his mouth wired in a permanent smile, able to show his feelings only through his eyes. How many other actors could do it?

Lon Chaney. Here's another one with a string of excellent performances. Among them:

Tito in Laugh, Clown, Laugh. Portraying a middle-aged man who has fallen in love with his foster daughter, to whom he can only ever be her father. The look of pain on his face when interacting with her near the end of the film is heartrending.

The Miracle Man. I know, I know - only a few minutes of footage still exist. Even so, it's enough to show Chaney's incredible ability to work with his body, as his character is "healed" by faith.

The Penalty. He was brutal in that film, and it works perfectly. His physical stunts were no less impressive; hauling his whole body upwards by means of pegs inserted into holes in the wall never ceases to amaze me.

Buster Keaton. Everything Buster did, was uniquely his. That ability he had to convey a wide range of emotions without laughing or smiling is one that nobody will ever be able to do again. All of his performances are my favorites, even if not all of the films are.

Harold Lloyd in Girl Shy. Harold's "glasses" character can get on my nerves, but here, rather than being the typically brash young man, he's shy, withdrawn, and has a stutter. I was most impressed by the scene where he is pretending to his girlfriend that she never meant anything to him, and begins to laugh. In the midst of his laughter, you see an expression of deep disgust on his face that makes the scene even more poignant.

More later.

Crushes

I belong to an Internet group for lovers of silent film. For the most part, the group is pretty quiet. We get news of screenings worldwide from one member, and occasionally someone posts some news concerning silent film, but not much else, except for the recent flurry of excitement when the missing footage of Metropolis was discovered.

Last year, though, one of the members started a thread that became wildly popular. We were all to list our favorite "hot" silent stars. The key word was SHALLOW.

Responses came thick and fast. The men were listed first, until someone broke the ice and started listing women. Then the names came even faster. One member asked to be removed from the email list, as a result.

After doing a brief tally of the candidates, I discovered the winners among the men:

Richard Barthelmess and Rudolph Valentino. These two received the most mentions. Ronald Colman ran a respectable second, and Wallace Reid was third. Buster Keaton and Harold Lloyd outstripped Douglas Fairbanks and fellow comedian Charlie Chaplin.

Among the women, the winner was clear:

Clara Bow. She received far more mentions than Greta Garbo, who, though on the list, lagged behind Corinne Griffith, Jobyna Ralston, and Pola Negri. Clara ranked above them all.

There were a few odd mentions, such as George O'Brien and Conrad Veidt. One member voted for Rin-Tin-Tin. The enthusiasm was something I haven't seen on the list before or since, at least until the Metropolis news, but at least one member didn't share the joy, as shown by this plaintive message:

"Will this thread ever die? It's like the time someone left their autoresponse on and flooded everyone's mailbox."