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The Silent Clowns, by Walter Kerr
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This book is both a scholarly study of silent comedy movies, and an illustrated guide to the major comedians for the general reader. It covers such characters as Buster Keaton, Charlie Chaplin, Harold Lloyd and Laurel and Hardy. The author is one of America's foremost film and theatre critics. He treats the subject of film comedians with much affection, and includes many anecdotes and stories. He is also a lucid theorist, attempting to explain how and why we laugh.
- Sales Rank: #1743060 in Books
- Published on: 1979-02-12
- Released on: 1979-02-12
- Original language: English
- Number of items: 1
- Binding: Paperback
- 374 pages
Most helpful customer reviews
18 of 18 people found the following review helpful.
THE indispensable book on silent comedy
By bruce horner
This book is not only the single best volume ever written about silent film comedy, but the best about silent film, period. Only Kevin Brownlow's The Parade's Gone By even comes close. There are chapters on the mechanics and aesthetics of silent film that should be read by everyone with an interest in the form. In addition, his chains of reasoning and perceptions are put forth with an aptness and lucidity that conceals the depth of the intellectual analysis. The elegantly straightforward prose makes this book a joy to read from start to finish. Further, in addition to covering the film work of the "big four" (Chaplin, Keaton, Lloyd, and Langdon) Kerr also sheds welcome light on lesser-known and even forgotten figures, such as the "unexpected" Raymond Giffith. Finally, this is a book that was well-produced on every level, right down to the layout, chapter headings, and fonts. Numerous film stills of every size (inluding some generous two-page spreads) make it a feast for the eyes as well as the mind, cogently and often playfully setting off the text. The original hardback edition published by Knopf was meant as a sort of intelligent coffee-table book (most assuredly NOT an oxymoron in this case), and the present oversized-paperback edition provided by the good folks at Da Capo should be seen in the same light. Both a celebration of silent comedy and a superb investigation of the form. Also a book that you can dip into again and again over the years with undiminished pleasure and come away with reinvigorated enthusiasm for the subject. If you don't have it, get it.
24 of 24 people found the following review helpful.
Timeless
By A Customer
What Kerr has essentially revealed in this book is the very pulse by which the silent comedic form remaines timeless. He manages to write his book with such a love, yet such an intellectual understanding, that much like the art form he analyzes, it is a book devoid of snootiness or cynicsm. The book has many stengths, but carries such weight because it isn't only pre-occupied with Keaton and Chaplin. The chapters on Harold Lloyd -- who remains understudied -- are very insightful, yet objective. And while other silent comedians aren't given quite space that the major four American comedians are (Chaplin, Keaton, Lloyd, Langdon), a respectable analysis of Arbuckle, Sennett, Linder, Laurel and Hardy, and many more are presented. Valuable perspectives on "non-comedic" actors like Fairbanks, Pickford, and Gish are also hearty reading.
Kerr also give great insight into aesthetic issues, such as music composition and presentation, varying artists' cutting techniques, the roles of women in selected films, the alternate use of frame rates, and much, much, more. What makes the book so refreshing to read is how very much Kerr loves his subject, not necassarilly his subjects. Most books about the silent comedians -- Keaton and Chaplin in particular -- cannot help but devote numerous pages and even chapters to the filmmaker's vices (i.e. Chaplin's womanizing, Keaton's alcoholism). Kerr mentions such subjects when pertinent, but they do not become the book's thrust, nor are such issues presented to undercut the artist or his work in any way. Flawed men these clowns were, but their work remains relatively perfect.
4 of 4 people found the following review helpful.
Timeless
By A Customer
What Kerr has essentially revealed in this book is the very pulse by which the silent comedic form remaines timeless. He manages to write his book with such a love, yet such an intellectual understanding, that much like the art form he analyzes, it is a book devoid of snootiness or cynicsm. The book has many stengths, but carries such weight because it isn't only pre-occupied with Keaton and Chaplin. The chapters on Harold Lloyd -- who remains understudied -- are very insightful, yet objective. And while other silent comedians aren't given quite space that the major four American comedians are (Chaplin, Keaton, Lloyd, Langdon), a respectable analysis of Arbuckle, Sennett, Linder, Laurel and Hardy, and many more are presented. Valuable perspectives on "non-comedic" actors like Fairbanks, Pickford, and Gish are also hearty reading.
Kerr also give great insight into aesthetic issues, such as music composition and presentation, varying artists' cutting techniques, the roles of women in selected films, the alternate use of frame rates, and much, much, more. What makes the book so refreshing to read is how very much Kerr loves his subject, not necassarilly his subjects. Most books about the silent comedians -- Keaton and Chaplin in particular -- cannot help but devote numerous pages and even chapters to the filmmaker's vices (i.e. Chaplin's womanizing, Keaton's alcoholism). Kerr mentions such subjects when pertinent, but they do not become the book's thrust, nor are such issues presented to undercut the artist or his work in any way. Flawed men these clowns were, but their work remains relatively perfect.
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