Silent comedies still have much appeal

Press, Volume CXI, Issue 32630, 11 June 1971, Page 4

Silent comedies still have much appeal

One of the most cheerful of early evening programmes is the “Mad Movies” series in which some of ■ Hollywood’s great performers of the silent days appear. The daring often shown by some of the great screen comics was remarkable, and today’s audiences, young and old, still find the old silent pictures enchanting.

On Wednesday night Bob Monkhouse’s collection included much from Monty Banks, a talented comedian. It also included a glimpse of another very popular British performer of many years ago, Jessie Matthews, who enchanted audiences with her dancing and with her parts in such films as “Evergreen” and “The Good Companions.” The resurrection of old slapstick comedy is a surefire success. Recalling films and film stars from other than slapstick could be fraught with danger. A dramatic scene from a famous film qf, say, the early 1930’s could, today, look and sound ludicrous. But there must be much materia! available which could still appeal to present-day audiences. Not long ago we went to a suburban cinema to see “Top Hat,” the Fred AstaireGinger Rogers film which is probably the bestremembered of their successes by those who delighted

in this team in their youth. The comedy was flat and forced, the situations stilted; but the dancing was as delightful as it was when we were starry-eyed youngsters. When Bob Monkhouse runs out of Laurel and Hardy, Monty Banks, Keaton, the Keystone Kops and the others, someone might .bring out a series recalling some of the best moments from entertainers of yesteryear. Astaire’s dancing, for instance; some of the sketches from W. C. Fields . . . there is plenty of material which would still please.

# « # The Wednesday night programme, notwithstanding the addition of “Steptoe and Son” is still of very moderate quality. Lucille Ball had Eva Gabor with her in another comedy which did not do Miss Ball justice. “Bonanza” had little enough to commend it. Ben Cartwright was kidnapped, and rescued. There was a great deal of ill-feeling among the men who captured him, antipathy which went as far as a nasty shooting in the back. These squabbles and their outcome were rather like the latest of the “Gold Robbers” stories, “Dog Eats Dog.” For dog, read coyote. This viewer did not see the first of the new “Steptoe” series, reviewed by “Pandora’s Guest.” But the second programme, “A Winter’s Tale” seemed rather less amusing than those of the earlier series.

The running battle between Harold and his father, the gorgeous smattering of knowledge Harold parades, the pathos of old age, are the principal ingredients in this popular series, and they can still be appreciated. But “A Winter’s Tale” was patchy; the Steptoes will do better before the series ends. : There was a complaint from a correspondent this week about the “dubbed-in laughter” in the Steptoe; comedies. This has been mentioned, quite regularly, by other correspondents and this viewer. It is an irritation to many people. Why do they do it?

There must be a proved basis for having the sounds of people in paroxysms of uncontrollable laughter in so many comedies. The television companies have been in business for a fair while, and they, presumably, know what they are doing.

If one walks into a room .full of people, all of whom are laughing uproariously, it lis almost impossible not to smile, as one inquires what lit is all about. Presumably studio laughter is supposed to have a similar effect. The contrived mirth is the Judas sheep. But the “Lucy” show as well as “Steptoe and Son” on Wednesday night had such gales of laughter repeatedly, and it can be heard even when the flattest of flat comedies is being screened. It is an irritation.

Thank heavens the makers of Hitchcock-type films do not have screams and wails of

anguish from studio audiences. To be sure, suitable background music is usually provided for that purpose. It is infinitely preferable to the methods of the makers of ■comedies.—PANDORA.