DVD Review: The Alice Howell Collection

The concept of women in screen comedy has a rich and detailed history that is in danger of being unfairly overlooked or completely forgotten. When the recent “Bridesmaids” was released, reviewers proclaimed that it proved women could be funny too – something that cinema had proven as far back as 1912.

Thus the release of a two-disc set of comedies by silent film star Alice Howell has a historical, socio-cultural, and aesthetic importance. Historically, the dozen films contained on the two discs are presented chronologically, and with text between them to help the viewer understand and appreciate the historical context. Socio-culturally, the films present several brilliant examples of one of the top female comedy pioneers. And, aesthetically, we are offered 12 fine comedies that not only exhibit the talents of Ms. Howell, but of co-stars like Al St. John, Billie Ritchie, Raymond Griffith, and Oliver Hardy; as well as directors like Rube Miller, Henry Lehrman, John G. Blystone, and Richard Smith.

The following films are contained on the two discs:

SHOT IN THE EXCITEMENT (Keystone, 1914)

Alice Howell quickly rose from bit parts to larger roles at Keystone, and that “Shot in the Excitement” is perhaps the best example of her work there. It is just a series of gags surrounding the rivalry between Al St. John and Rube Miller over the affections of farm girl Alice. The slapstick is relentless here. Rube looks through a hole in a fence and sees Al and Alice sharing candy. He drops a spider down to break it up. Rube looks through the fence hole again and Al pokes his eye. Rube tries to poke back, but Alice bites his finger. Al drops a rock on Rube over the fence. Rube tries to reciprocate, but the rock falls on Alice’s head. Rube hops the fence, Al swings to hit him, but Rube ducks and Alice gets punched. The timing and execution of the above series of slapstick encounters during the film’s opening scenes is the key to this movie’s brilliance. It is quintessential Keystone clowning at its funniest. A film like “Shot in the Excitement” shows how carefully timed and expertly choreographed each slapstick endeavor is, and it stands out as one of the funniest and most brilliantly presented of all the Keystone comedies. While it has not been verified, Rube Miller is credited as the likely director.

FATHER WAS A LOAFER (L-KO, 1915)

Alice Howell’s first film for Henry Lehrman’s Knock-Out comedies, “Father was a Loafer,” is really more of a Billy Ritchie comedy with Alice in support. Alice and Billy are a married couple with four children. When Alice gives birth to triplets, that is too many kids for Billy so he walks out on her. After he bravely rescues a young heiress on a runaway carriage by grabbing her from a passing streetcar, he is allowed the pleasure of wealth and opportunity, as well as her hand in marriage. When Alice sees the announcement in the newspaper, she goes to the castle and exacts slapstick revenge. She beats up Billy, plops him in a baby carriage, ties it to the back of the car, and drags him home. Much of the slapstick here is of a frantic nature, but the performers are so adept at performing this sort of comedy, the film is hilarious throughout.

UNDER NEW MANAGEMENT (L-KO, 1915)

Only the first reel and part of the second reel of this two-reeler survive, but from what footage we have, we not only are allowed to enjoy the comic antics of Alice Howell, but also Raymond Griffith, who is a sadly neglected presence in screen comedy. This is where historical context is most important. The existing footage offers some good comedy with Griffith and Fatty Voss fighting over pretty secretary Gertrude Selby, and how things change when Alice takes over running the firm from hubby Gene Rogers, relegating him to clerk status. But the fact that we can’t finish the film is a limitation. There are some amusing moments with jealous Alice following Gene to work, watching him try to pick up girls on the way. Voss and Griffith’s slapstick battle over pretty Gertrude offers more good laughs.

HOW STARS ARE MADE (L-KO, 1916)

Only this film’s second reel survives but since it works as a self-contained movie, it is presented as such. More fun knockabout comedy with Alice wanting to enter movies, and the viewer getting a good glimpse of the L-KO production facilities. Raymond Griffith is once again playing opposite Alice, which means that we have more material on this fine comedian as well.

NEPTUNE’S NAUGHTY DAUGHTER (Century Comedies, 1917)

When Henry Lehrman left L-KO in 1916, the new owners set up a separate production company for the films of its most popular star, Alice Howell. John G. Blystone directed, and six shorts were made. Only “Neptune’s Naughty Daughter” is known to survive. There is a certain poignancy to Alice’s character in this one. Clearly the star, she is the central figure in the narrative that presents her as an outcast at home, and within her peer group. Starving for affection, she ends up with sailors who have ulterior motives in mind. Meanwhile, her parents are shown at home, sick with worry. While the underlying story has elements of silent melodrama, the comedy is still prevalent, with a drunken Alice joining the dancing girls on stage at a club. Wild slapstick ensues when Alice falls out of a movie auto and gets caught in the wheel as it spins her around in its journey down the road. She ends up letting go and falling down a manhole. This was notably Fatty Voss’s final film, as he died in 1917. He was an imposing comic presence.

IN DUTCH (Century Comedies, 1918)

Once Universal studios picked up the distribution of the Century Comedies, Alice Howell’s comic stardom continued. Alice is parodying Mary Pickford’s “Hulda From Holland” as she plays a similarly named character stowing away to the USA. She marries Hughie Mack (obviously taking over from the recently deceased Fatty Voss) on board ship, and ends up working at a cabaret. This one is especially notable for featuring a young Jimmy Finlayson in multiple roles.

DISTILLED LOVE (Reelcraft, 1920)

Perhaps it is time to mention actor director Richard (Dick) Smith who is quite funny in this film and had been a presence in a few Alice Howell comedies in this set. He was her real-life husband. Oliver Hardy appears too, years before teaming with Stan Laurel and reaching iconic status. There are some particularly wild visual gags here, including Alice balancing on a ladder where up top is her irate mother, and at the bottom her equally irate suitor. When the ladder teeters and falls, Alice crashes to the ground. Another neat sight gag shows Alice cleaning a mule with a vacuum, while her mimicry of a bathing beauty is another comic highlight. Oliver Hardy is hardly the Ollie we know and love in this role. He is a cad who tries to woo Alice and ends up burning down a barn in which she is tied up and his baby (with another woman) is also trapped. The baby, incidentally, is Fay McKenzie, who, at the time of this review, is still living at age 100, and her great nephew, Bryan Cooper, along with Stan Taffel, made arrangements for her to see this film.

HIS WOODEN LEGACY (Reelcraft, 1920)

Alice and husband Dick Smith moved their production facilities to Chicago and made several films there, beginning with this one. The print on this DVD set contains all existing elements, including an abridged first reel and a second reel that ends abruptly. A century later, it is fortunate we have any footage at all of films like this, so it is great to see what exists of this comedy. Alice is coming into an inheritance, so her employers play up to her, but when it turns out to be a wooden leg, she is thrown out. It is later discovered that the wooden leg contains the true inheritance therein. As one views the comedies in this two-disc set, the development of Alice Howell is clearly evident. By the time she made this film, she had defined her comic manner, honed her ability at knockabout slapstick, and was able to add dramatic layers to her performances.

HER LUCKY DAY (Reelcraft, 1920)

Alice was sometimes called The Female Chaplin, and this may be the film on the DVD set that compares best with Charlie Chaplin’s approach. Alice’s companion is a little dog. The dog is injured, she takes him to the vet, and nurses him back to health. Later, she borrows a street vendors guitar and performs while the dog holds a donation cup in its mouth and collects money. The similarities to Chaplin’s “A Dog’s Life” (1918) are basic, but discernible. Alice and Dick Smith utilized the creative control they were allowed in their Chicago productions, and the results remain impressive. The dog is as much a part of the film’s charm as the actors.

CINDERELLA CINDERS (Reelcraft, 1920)

Perhaps the best-known Alice Howell comedy due to its being available to collectors during the 16mm and 8mm days, “Cinderella Cinders” is also one of her finest. Its inclusion in this set is quite welcome, despite its appearance on other silent comedy collections. Alice and Dick Smith are the cook and butler at a mansion where they are asked to pose as a count and countess who have not shown up, so the owners can save face. Of course, the fact that they are working class and not aristocrats make Alice and Dick unsuited for the roles, which they play very poorly. It is a very funny short and clearly emphasizes the working-class persona of Alice Howell in its perfect setting. A street chase, on foot, that also involves a bicycle and roller skating, is a big highlight.

A CONVICT’S HAPPY BRIDE (Reelcraft, 1920)

Returning to California from Chicago and continuing production, Alice and husband Dick Smith next made “A Convict’s Happy Bride.” Alice and Phil Dunham are a married couple with a young son. A burly reposseser is invited to dinner in order to play up to him and avoid repossession. However, he makes a move on Alice, so Phil shoots him and is sent to jail. The ice man is only playing dead, but Phil is still arrested. The warden moves the jail across the street and allows Phil to go home for lunch. Frank Coleman, who appeared in Chaplin Mutuals plays the reposseser and future Our Ganger Jackie Condon plays Phil and Alice’s son.

UNDER A SPELL (Universal, 1925)

Alice Howell took a bit of a semi-hiatus from films during the early 1920s, then did some one-reelers for Universal before eventually retiring in 1927 (she lived until 1961). In this outrageous comedy, Alice is concerned that her husband is seeing another woman when she spots a burglar entering their home (it is a man disguised as a woman). Alice arranges to have her husband hypnotized to find out the truth, but instead he ends up believing he is a gorilla. Outrageous farce, and an interesting representation from this point in Alice Howell’s (and Dick Smith’s) career.

All of the films on this set are carefully remastered from the best possible prep-print material, and contain all existing footage. The restorations are often quite beautiful, and Ben Model’s musical accompaniment is perfect. One cannot overstate the importance of these films to a greater understanding of film history, especially comedy. Alice Howell is one of the finest comedians of the silent era, and the films on this disc are a true justification for ranking her at such a lofty level. The project was not funded by 360 fans through Kickstarter, and was released by Undercrank Productions in association with the Library of Congress

The DVD set is available at this link: The Alice Howell Collection