When a rich 'mothball magnate' checks into a hotel with his family, the mashers come out of the woodwork to woo his daughter (Fatty Arbuckle). The scene shifts to the beach where the buxom heiress becomes stranded on a rock, where she is sunbathing, when the tide comes in; An hilarious rescue effort ensues.
05-14-1915
12 min
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Main Cast
Movie Details
Production Info
Director:
Roscoe 'Fatty' Arbuckle
Production:
Keystone Film Company
Key Crew
Producer:
Mack Sennett
Locations and Languages
Country:
US
Filming:
US
Languages:
en
Main Cast
Roscoe 'Fatty' Arbuckle
Roscoe Arbuckle (March 24, 1887 - June 29, 1933), widely known to audiences as “Fatty” Arbuckle, was an American silent film actor, comedian, director, and screenwriter. He started at the Selig Polyscope Company and eventually moved to Keystone Studios, where he worked with Mabel Normand and Harold Lloyd as well as with his nephew, Al St. John. He also mentored Charlie Chaplin, Monty Banks and Bob Hope, and brought vaudeville star Buster Keaton into the movie business. Arbuckle was one of the most popular silent stars of the 1910s and one of the highest-paid actors in Hollywood at the time.
In one of the earliest Hollywood scandals, Arbuckle was the defendant in three widely publicized trials between November 1921 and April 1922 for the rape and manslaughter of actress Virginia Rappe. Rappe had fallen ill at a party hosted by Arbuckle at San Francisco's St. Francis Hotel in September 1921, and died four days later. A friend of Rappe accused Arbuckle of raping and accidentally killing her. The first two trials resulted in hung juries, but the third acquitted Arbuckle. The third jury took the unusual step of giving Arbuckle a written statement of apology for his treatment by the justice system. Despite Arbuckle's acquittal, the scandal largely halted his career and has mostly overshadowed his legacy as a pioneering comedian.
From Wikipedia, the free encyclopedia
Edgar Livingston Kennedy (April 26, 1890 – November 9, 1948) was an American comedic film character actor, known as "Slow Burn". A slow burn is an exasperated facial expression, performed very deliberately; Kennedy embellished this by rubbing his hand over his bald head and across his face, in an attempt to hold his temper. Kennedy is best known for a small role as a lemonade vendor in the Marx Brothers film Duck Soup, as well as the many Hal Roach films he appeared in.
Kennedy became so identified with frustration that practically every studio hired him to play hotheads. He often played dumb cops, detectives, and even a prison warden; sometimes he was a grouchy moving man, truck driver, or blue-collar workman. His character usually lost his temper at least once. In Diplomaniacs, Kennedy presides over an international tribunal, where Wheeler & Woolsey want to do something about world peace. "Well, ya can't do anything about it here", yells Kennedy, "this is a peace conference!" Kennedy, established as the poster boy for frustration, even starred in an instructional film titled The Other Fellow, in which loudmouthed roadhog Edgar always vents his anger on other drivers (each one played by Kennedy as well), little realizing that, to them, he is "the other fellow."
Perhaps his most unusual roles were as a puppeteer in the detective mystery The Falcon Strikes Back and as a philosophical bartender inspired to create exotic cocktails in Harold Lloyd's last film, The Sin of Harold Diddlebock (1947). He also played comical detectives opposite two titans of acting: John Barrymore in Twentieth Century (1934) and Rex Harrison in Unfaithfully Yours (1948); in the latter, he tells conductor Harrison that "Nobody handles Handel like you handle Handel."
Kennedy died of throat cancer at the Motion Picture Hospital, San Fernando Valley on 9 November 1948. His body was interred at the Holy Cross Cemetery, Culver City, Los Angeles County, California.
Harold Lloyd has been called the cinema’s “first man in space.” His comedy wasn’t imported from Vaudeville or the British Music Hall like his contemporaries, Charlie Chaplin and Buster Keaton. Harold learned to use the camera the way other comics used a bowler hat or a funny walk. In 1917 he shed the comedic clown personas prevalent in comedy for hundreds of years and pioneered romantic comedy by the ordinary guy up on the screen –- a guy with faults, and fears, “the boy next door.” With his young man in horned-rimmed glasses, he created classic films.
