Last week's post on rubber-legged slapstick master Leon Errol and silver screen humor essential Mel Brooks, as well as the previous one on The Three Stooges, has profoundly immersed this blog in the pratfall-packed world of physical comedy.
We've been heavily into Slapstickland, both silents and talkies, for the past three months. And many moons ago, back in 2013 (which now feels like 1913), wrote an extended series of Way Too Damn Lazy To Write a Blog posts paying tribute to the Columbia Shorts Department and Jules White.
Lee Weinstein's 2023 article The Rivals Of The Three Stooges adeptly covers the comedy headliners from Columbia 2-reelers at length and gets us thinking of the guy who spent 20 years with The Shorts Department before going on to a successful career in television, former silent slapstick perennial and Mack Sennett stock company player Andy Clyde.
In I'M A FATHER, Andy plays the "cranky old stick in the mud" to perfection.
In such Columbia 2-reelers as OLD SAWBONES, a collaboration between prolific silent comedy creators Del Lord and Jack "Preston Black" White, Andy presents a down-home variant on the physical comedy formula of Moe, Larry and Curly.
Now it's on to character actor supreme, the guy who coached none other than Kate Hepburn in comedy chops during the making of Bringing Up Baby, the great Broadway and movie comedian Walter Catlett.
Here's Walter in Get Along Little Hubby (1934). (Note: the following transfer is very out of sync). He co-stars with Vivien Oakland, very much a key player in the first year of The Shorts Department (and a take-no-prisoners character actress here), as well as ubiquitous slapstick comedy stalwart, future Columbia 2-reelers headliner and Three Stooges co-star Monte Collins.
In case you're wondering why Walter Catlett seems more than vaguely familiar. . .
Indeed, that is a wonderful performance in Pinocchio as J. Worthington Foulfellow A.K.A."Honest John."
In between his numerous character roles in feature films, Catlett turns up periodically in Columbia shorts through the early 1940's; he even co-stars with the popular Guy In A Gorilla Suit, who torments Walt and Dudley Dickerson (the talented African-American comedian invariably cast in grotesque stereotyped parts) in YOU'RE NEXT.
BLONDES AND BLUNDERS has a pronounced Moe-Larry-Curley style knockabout approach throughout, in no small part due to the presence of irreplaceable Three Stooges supporting comics Bud Jamison and Vernon Dent.
Walter Catlett had prominent roles in comedy and musical short subjects long before working for Columbia. Here he is, teamed with none other than gravel-voiced Eugene Pallette.
One of the most memorable Walter Catlett performances is in Mark Sandrich's 1933 RKO opus SO THIS IS HARRIS (1933).
Have devoted many blog posts to the unorthodox and original comedian Harry Langdon over the years.
Like Buster Keaton and Charley Chase, Harry was among the former silent movie headliners making 2-reelers at Columbia. Langdon was one of two Harrys - the second was Harry von Zell in 1946-1950 - to headline short subjects for The Shorts Department.
The Columbia Langdon comedies remain a mixed bag; some - SHIVERS, HIS MARRIAGE MIX-UP (the 1935 predecessor to Saturday Night Live star Mike Myers' 1993 feature film So I Married An Axe Murderer) - are still lost films.
Langdon, an unique and idiosyncratic performer, was especially ill-suited to Jules White's tendency to make Three Stooges comedies with all Shorts Department headliners.
At that point Harry, who was pushing 40 when he debuted in movies, was in his fifties and no longer able to do strenuous physical slapstick. Nonetheless, the comedy-crazed gang here find Langdon's appearances in features and short subjects, more often than not, to be quite funny; check him out in Lewis Milestone's Hallelujah, I'm A Bum (1933).
The following, directed by frequent Langdon collaborator Arthur Ripley and written by the inventive and prolific Harry McCoy, is a sendup of Warner Brothers' Warren William vehicle and courtroom drama The Mouthpiece (1932). Harry sports a mustache!
Harry works quite well with the marvelously and unabashedly over-the-top Hal Roach Studios comedian and cartoon voice artist Billy Gilbert in this 1935 2-reeler. Langdon's the straight man here! Billy reprises the raving loony he portrayed with relish in the Three Stooges opus Men In Black.
For more on this great movie comedian, check out Chicago historian Nicole Arciola's terrific Harry Langdon Archive YouTube channel, a classic comedy treasure trove.
On the comedy beat from Broadway to vaudeville to movies, thinking of two terrific icons of silver screen humor, both of whom crack us up, only every time. One is star of stage, screen, Ziegfeld Follies, etc. Leon Errol, born in Sydney, Australia on July 3, 1881. Here's Leon with Lou Costello in The Noose Hangs High (1948).
The other is Mel Brooks, because the gang here somehow missed the comedy maestro's 100th birthday last Sunday!
While Leon Errol is arguably best known for his later work - his appearance in W.C. Fields' hilarious 1941 opus Never Give A Sucker An Even Break, the Joe Palooka series and the eight Mexican Spitfire feature films co-starring comedienne, singer and dancer Lupe Vélez, he had a lengthy and illustrious show business career as comedian-singer-director-writer before 1930 and even appeared in several silent films (in the following co-starring with stalwart comedienne Dorothy Gish).
Mentioning how expertly the thorough Forgotten Australian Actors website chronicles Errol's five decade show business career, we note that the rubber-legged comedian began performing on stage, acting, singing and directing theatrical troupes as he worked in burlesque and vaudeville, starting at the turn of the 20th century.
He toured Australia, New Zealand and Great Britain and Ireland, worked extensively as a director and writer with Florenz Ziegfeld, Jr. and co-starred in sketches with the legendary Bert Williams in the Ziegfeld Follies.
Mr. Errol is also among a slew of comedians in the enjoyably eccentric and unrelentingly grotesque version of Alice In Wonderland directed by Norman Z. McLeod and produced by Paramount Pictures in 1933.
We are quite fond of the 2-reelers Leon starred in during the first year of Jules White's Columbia Shorts Department, consider the uninhibited group to be slapstick masterpieces.
ONE TOO MANY is quite the curio, directed by Our Gang series creator Robert McGowan (on a break from the Hal Roach Studio) and written by the insanely prolific Harry McCoy.
Also love the two Technicolor Vitaphone musical shorts from 1934, both directed by Roy Mack, later a producer of very enjoyable Soundies.
The wonderfully cheesy time-traveling Vitaphone musical GOOD MORNING EVE (1934), one of the last gasps of pre-Code naughtiness, in glorious 3-strip Technicolor, is a personal favorite Leon Errol flick.
Greg Hilbrich of the The Columbia Shorts Department wrote, "upon completing HONEYMOON BRIDGE for Columbia, and after an argument with studio executives who cited "creative differences", Errol left for Radio Pictures."
So, in 1934, Leon began starring for RKO in a series directed and written by legendary gagmeister Al Boasberg.
There are LOTS of RKO Leon Errol short subjects on YouTube. In one produced in 1936, none other than Lucille Ball (who has a cameo as Leon's secretary in the 1934 Columbia 2-reeler PERFECTLY MISMATED) plays a housekeeper. No doubt Lucy was taking notes when working at the Columbia Shorts Department in 3 Stooges and Leon Errol 2-reelers.
Errol's co-star in ONE TOO MANY, ONE LIVE GHOST and many other films is the always formidable former Ziegfeld Girl and Hal Roach Studios stock company player Vivien Oakland, who, along with the equally formidable Dorothy Granger, would be a frequent collaborator.
Our favorite of all the Leon Errol RKO short subjects is THE JITTERS (1938), an astounding version of his rubber-leg routine.
Leon starred in 2-reel comedies for RKO through the 1940's, long after Mack Sennett and Educational Pictures closed and Hal Roach Studios ceased making short subjects. He often played a lecherous philanderer who unsuccessfully attempts to conceal booze, broads and gambling from his wife. Would expect no less from a comedian who starred in the 1933 Paramount short subject Three Little Swigs!
As of July 2026, clips from this series are practically nonexistent online. Fortunately for comedy geeks, all eight Mexican Spitfire features are available as a 4-DVD box set.
Too bad Lupe wasn't around 30 years later to bring her wacky and unabashedly over-the-top sensibility to western deconstruction Blazing Saddles - which brings us to Mel Brooks.
We're thrilled and delighted that comedian-writer-director-producer Mel Brooks made it to his 100th birthday last Sunday!
Here, Mel celebrates his 100th with TV producer-writer (Everyone Loves Raymond), documentary host (Somebody Feed Phil), actor and enthusiastic gastronome Phil Rosenthal.
Noting our June 28, 2021 post celebrating Mr. Brooks' 95th birthday and Way Too Damn Lazy To Write A Blog's February 21, 2026 tribute to the mighty and ridiculously talented comedy writers and performers who created Admiral Broadway Revue, Your Show Of Shows and Caesar's Hour, in closing, here's one of our favorite Mel contributions to a movie, approved enthusiastically by the Psychotronix Film Festival!
Thanks for the laughs, Leon and Mel! Now it's time to re-watch the four Columbia 2-reelers, then watch those Video Yesteryear compilations of Leon Errol comedies, starting with volume 1. Then on to The Flustered Comedy Of Leon Errol volumes 2, 3 and 4.
Needing laughs big time today, along with guffaws, chortles, chuckles, giggles and howls, so slapstick scenarios involving funny fat guys falling down sound FANTASTIC! Thankfully, film historians, authors and silent movie experts have posted a bunch of pratfall-packed Ton Of Fun 2-reelers from the late 1920's on YouTube.
These slapstick flicks star the rousing and rotund trio of Kewpie Ross, Frank Alexander and Hilliard Carr, a.k.a. Ton Of Fun, and were produced by former Vitagraph star Joe Rock (from the comedy team of Earl Montgomery and Joe Rock) for Standard Film Corporation/F.B.O.
Do the cheerful yet corpulent stars of the Ton Of Fun comedies remind this always too-enthusiastic slapstick fan of any funmakers from more recent memory? YES - this guy!
While Mr. Farley loathed and detested being typecast as a “fat comic”, he was an inspired slapstick performer who, like fellow comedians Roscoe Arbuckle and John Candy, left us way too soon.
We're thrilled and delighted that the exploits of A Ton Of Fun still survive 100 years after they were first produced.
Film historian Dave Glass has posted a bunch of the trio's absurdist adventures on his silent movie-filled YouTube channel.
Our only unfulfilled slapstick wish here is that the very funny plus-sized comedienne Babe London, hilarious in the role of Oliver Hardy's fiancée in Our Wife (1931), did not co-star with Carr, Alexander and Morgan in Ton Of Fun adventures.
As remains the case with the "slapstick ballets" by Comique Productions co-starring Roscoe Arbuckle, Buster Keaton and Al St. John, these comedies deliver numerous sight gag-filled belly laughs.
Along with the slapstick series he and Earl Montgomery co-starred in for Brooklyn's Vitagraph Studios, Joe Rock is best known for the twelve Stan Laurel solo comedies he produced in the mid-1920's. He would go on to produce documentaries in the sound era.
These Stan Laurel solo comedies featured talent both behind and in front of the camera who would subsequently be key contributors to the Hal Roach Studio's Laurel & Hardy series.
Hopefully, these vintage comedies shall be enough to tide us over until National Silent Movie Day this fall.
Today we tip a battered top hat worn by a boisterous and three sheets to the wind Ted Healy to the great Moe Howard, ace of slapstick!
After a decade performing in vaudeville and stage and films as part of the popular knockabout act Ted Healy & His Stooges, Moe succeeded Ted as "the head stooge" when the team and Healy parted ways and The Three Stooges began starring in short subjects for Columbia Pictures in 1934.
Still hear the comedy team's various theme songs whenever I see the "A Screen Gems Film Presentation: Television Subsidiary" logo.
And now for some choice slapstick snippets. . .
As we continue having a rough go through 2026, a bit of "laughter is the best medicine" from Moe Howard, born on this day in 1897, and the Three Stooges, starting with the following excellent documentary by his son Paul, proves a most worthy Rx.
Love this interview with Moe.
Moe's daughter, Joan Howard Maurer, appeared on Late Night with David Letterman in February 1983. The early 1980's NBC incarnation of Letterman's freewheeling program frequently booked guests representing the golden age of classic comedy from movies, TV and radio.
Now it's time, on Moe's natal anniversary, for some big time Stoogery! This comedy fan is especially fond of the first 2-reelers they made for Columbia in 1934-1935.
The blonde in the following opus looks vaguely familiar. . .
Thinking, as we do often, of movie comedians who successfully transitioned from silents to talkies.
Some studios and funmakers did better than others. Mack Sennett had his problems adapting to the new medium but did employ the likes of Harry Gribbon, Vernon Dent and Andy Clyde - and a couple of years later, the brilliant W.C. Fields.
Next: comediennes in early talkies, led by the following bravura performance of Marie Dressler in Hollywood Revue Of 1929. She must have been devastatingly great on stage!
Marie & Polly Moran both made Mack Sennett comedies back in the WW1 era and actually worked as a comedy team in 1927-1931 MGM features. Here they are in the Al Christie talkie DANGEROUS FEMALES.
Another actress who got big laughs in both silents and talkies was "baggy pants comedienne" Louise Fazenda, former star of Universal Joker, Mack Sennett and Educational (Jack White) Comedies - and later a key supporting player in Warner Bros. musicals. She plays a Calamity Jane gunslinger type in the following "when men were men and sheep were nervous" scenario.
While the spotlight on silent movie comediennes who successfully transitioned to sound should definitely include Marion Davies, there are no short excerpts from her early talkies available via YouTube, Daily Motion and Internet Archive, just complete features. Alas, Mabel Normand, Wanda Wiley and Alice Howell did not make any sound movies. Have read that Fay Tincher's last film, All Wet (1930), was a Universal Pictures talkie 2-reeler starring Syd Saylor, but have never seen it.
Then there's Educational Pictures, which featured the often inspired and memorable comic Lloyd "Ham" Hamilton, then in his second run with the prolific comedy films distributor, in 1929.
Lloyd Hamilton's sound pictures from 1929-1931 represent a comeback after a stretch in which personal problems including multiple injuries, homelessness, unfortunate presence at drunken brawls and hard partying in general got him banned from the screen for a year.
In Toot Sweet, Hamilton does a good job of bringing his unrelentingly snakebit, shabby sad sack character from silents to sound.
Don't Be Nervous, featuring Ham in a dual role, would be my favorite of the Lloyd Hamilton Talking Comedies, along with the extremely funny Prize Puppies from 1930.
Hamilton continued starring in very funny talkie 2-reelers through the early 1931 Educational releases.
Before his decades as a megastar of British movies and stage shows (Me & My Girl), Lupino Lane starred in short comedies through the teens and twenties.
A favorite of the musical comedy aficionados at Way Too Damn Lazy To Write A Blog remains this very wacky number co-starring the ever-charming Lillian Roth with the ever-tumbling Lupino from the Ernst Lubitsch feature The Love Parade.
Now it's on to the Hal Roach Studio. A bunch of the Lot Of Fun stars and stock company members, including Max Davidson, Thelma Todd and Eddie Dunn appear together in this Edgar Kennedy 2-reeler.
100 years after his heydey, Harry Langdon remains both among the funniest and most polarizing of all movie comedians.
The gang here are among the few who are not only okay with Langdon's utter oddity and consider it his m.o. as a performer, but actually find his much maligned Hal Roach talkies quite funny in a very unorthodox way.
Devoted an entire post to these films - here's one of them!
Robert McGowan created the Our Gang series and helmed the films in silents by speaking the directions to the child actors, so these first talkies, in which he absolutely could not do that, are fascinating.
They are also interesting in blending the series' silent era stars, a.k.a. Hal Roach's Rascals, with the group that would increasingly carry the first season of sound Our Gang comedies.
Can't omit Laurel & Hardy from this mix. Berth Marks is notable for establishing something of a Guinness World Record for the amount of screen time devoted to one bit. The unrelentingly claustrophobic scene in the Pullman car features rather amazing extended physical comedy by Stan & Babe.
Our favorite of this bunch of early talkie comedies by far is Charley Chase and Thelma Todd in CRAZY FEET!
Are Charley and Thelma irreverent, extremely goofy and hilarious? Yes.
Acknowledgments: Weirdo Video, Geno Cuddy, Ralph Celentano, The Library of Congress, Dave Glass and all those involved at Sprocket Vault (Kit Parker, Richard M. Roberts especially) in making the 1929 Hal Roach talkies available on Blu-ray and DVD.
Today we pay homage to one of the great comic actors and Broadway legends, Zero Mostel, the gifted, versatile character actor, comedian and star of stage and screen, born on this day in 1915. Just in case one has not seen the larger-than-life actor in awhile, here's a reminder. . .
Zero is still celebrated for his musical comedy mojo on Broadway in Fiddler On The Roof.
As well as his stage and screen heroics in A Funny Thing Happened On The Way To The Forum.
And his role as the wonderfully conniving Max Bialystock in Mel Brooks' 1967 film of The Producers.
Zero's co-star Gene Wilder elaborates:
Found a couple of clips of Zero on TV from the late 1940's (on Ed Sullivan's Toast Of The Town) to the early 1960's.
Yes, it's true - Zero recorded an album. Like the review of it by The Comedy on Vinyl Podcast.
The favorite film festival that the writer of this blog didn't personally schlep reels to is back. That would be Noir City, which shall bring big screen fun to Oakland's Grand Lake Theatre starting on Friday.
Which has been the product of unending hard work from the preservationists, authors, historians and event maestros of the Film Noir Foundation.
The press release notes: The joint will be jumping when the venerable NOIR CITY film festival kicks out the jams at the Grand Lake Theatre, January 16–25, 2026, with an exciting 10-day program of crime and mystery films featuring . . . musicians!
From early examples of Hollywood noir like Blues in the Night (1941) to jazz-fueled sixties’ gems like All Night Long (1962) and A Man Called Adam (1966), the movies feature genuine musical legends performing alongside film noir favorites including Humphrey Bogart, Lauren Bacall, John Garfield, Ida Lupino, Kirk Douglas, Ann Sheridan, and Robert Mitchum.
Among the real-life musicians appearing onscreen at NOIR CITY 23: Elvis Presley, Doris Day, Louis Armstrong, Keely Smith, Dexter Gordon, Ella Fitzgerald, Hoagy Carmichael, Sammy Davis, Jr., Peggy Lee, Oscar Levant, Dave Brubeck, Charlie Mingus, and many more.
“Back in the 1940s, nightclubs and jazz played a significant role in creating the noir vibe,” explains festival founder and host Eddie Muller. “So, it was fun to craft a program in which music plays a role in every story, either through the setting or because the characters are musicians.”
As he usually does, Muller balances the roster between established classics (To Have and Have Not (1944), Gilda (1946), Sweet Smell of Success (1957), and seldom-screened titles like The Strip (1951), The Crimson Canary (1945), and Face the Music (aka The Black Glove), a 1954 British rarity that provided the “kicker” for this year’s festival.
Muller acknowledges that some of this year’s offerings veer outside the proscribed boundaries of noir, but he offers no apologies: “Jazz is America’s greatest contribution to the twentieth century,” he declares, “and mixing it up with film noir is a perfect way to showcase the music for a younger generation. The stories may be dark and depressing, but the music always soars.”
Many of the films on the schedule are fictions in which music plays a major part; others are based on actual performers, like the 1955 Doris Day vehicle Love Me or Leave Me in which Day gives a scintillating performance as 1920s singing and dancing sensation Ruth Etting.
Kirk Douglas’ Young Man with a Horn from 1950 (also starring Day) is based on the life of cornetist Bix Beiderbecke (with Harry James providing the actual horn work).
Similarly, Sammy Davis, Jr. and Dexter Gordon give memorable portrayals in, respectively, A Man Called Adam and Round Midnight (1986), playing composites of real-life jazz artists.
“Jazz may dominate the program,” Muller notes, “but we’ve also got samplings of classical (1946’s Humoresque), country (1958’s Thunder Road), and rock ‘n’ roll (1958’s King Creole) — I finally hit on a theme that accommodates my favorite Elvis movie.”
The classic film and noir-lovin' gang here strongly recommend that all film buffs who can get their derrieres and popcorn to the Grand Lake Theatre do so.
The Noir City festival will help get people together, have a chance to hang out, "face the music" and provide some entertainment during a year that thus far has been unrelentingly horrendous.
No doubt outraged texts from offended dumpster fires seeking an apology are forthcoming.
One of our all-time favorites, the great Dick Van Dyke, has beat all the odds and lived to celebrate his 100th birthday today.
Can a person still dance well into his/her nineties? Yes.
Loved seeing Mr. Van Dyke with Chris Martin of Coldplay on The Jimmy Kimmel Show last year.
Dick Van Dyke's appearance on the Late Late Show With Craig Ferguson was a hoot!
Many of us 1950's kids enjoyed a thrilling experience of big screen fun back in 1964 when Disney's Mary Poppins, featuring Julie Andrews, Dick Van Dyke (in multiple roles) and painterly special effects/animation and live-action combos by the super-talented likes of Ub Iwerks and Peter Ellenshaw, hit movie theatres.
Before Mary Poppins, Dick Van Dyke made his silver screen debut in the Bye-Bye Birdie, the movie version of the 1960 Broadway hit he starred in (and won a Tony for).
While Ann-Margret is nothing less than amazing and Paul Lynde is, as usual, hilarious in the 1963 Bye Bye Birdie movie, can't say this writer likes it anywhere near as much as Dick Van Dyke's other films, starring TV shows (including the 1976 variety program Van Dyke & Company), and appearances on such programs as The Carol Burnett Show.
After Mary Poppins, Dick went on to star in a series of enjoyable movies.
There's something about his physical comedy that gets this slapstick fan thinking of Charley Parrott Chase.
Dick starred in Carl Reiner's The Comic, a tragicomedy about an egocentric silent screen comedian. While the mannerisms appear to be based on Stan Laurel, who Dick knew quite well, this silent movie buff is convinced that it's all about Larry Semon (1889-1928), the otherworldly little comic whose frequent co-stars included Babe Hardy . . . and sometimes Stan Laurel.
After these movies, there was a second Dick Van Dyke show, co-starring Hope Lange from TV's take on The Ghost & Mrs. Muir and Broadway musical star Nancy Dussault, in the early 1970's.
Produced by Carl Reiner, The New Dick Van Dyke Show has its moments, but does not feature as deep and exceptional a supporting cast as Mary Tyler Moore, Morey Amsterdam, Rose Marie, Richard Deacon, Jerry Paris and Ann Morgan Guilbert in the 1961-1966 show.
Dick first made his name on TV hosting CBS Cartoon Theatre. That's right - Dick Van Dyke, who could resemble a super-rubbery cartoon character animated by Jim Tyer, introduced Terrytoons. Thanks, Barry Siegel Film Archives, for the following!
The Dick Van Dyke Show remains my favorite of all sitcoms, along with The Addams Family, Bob Newhart's first show and the first season or two of Get Smart!
The Dick Van Dyke Show episode in which Rob Petrie the deejay does a 100 hour marathon cracks me up.
Decades later, in the 1990's, Dick Van Dyke would co-star with his son Barry in a medical whodunit show, Diagnosis: Murder. My father, an avid fan of mysteries and whodunits, loved it.
Strikes this writer as appropriate that tonight, the Niles Essanay Silent Film Museum will be screening Buster Keaton's THE GENERAL on Dick's 100th birthday. Mr. Van Dyke knew Buster and Stan Laurel; all three brought countless laughs to a weary, hurting, troubled world.
