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Slapstick films are a type of comedy film that employ slapstick comedy with five main conventions:

1. Pain without real consequence.
2. Editing to turn a situation more unrealistic.
3. Impossible situations.
4. Zooms to confuse the audience.
5. Off screen use of sounds for impossible stunts and tension for audience.

Slapstick films[link]

Slapstick films include:

• Freddy Got Fingered
• Death Becomes Her
• Man with the Screaming Brain
• See No Evil, Hear No Evil
• Andaz Apna Apna
• Baby's Day Out
• Dodgeball: A True Underdog Story
• The Cat in the Hat
• Garfield: The Movie
• Flubber
• George of the Jungle
• Guest House Paradiso
• Hera Pheri
• Home Alone, Home Alone 2: Lost in New York, Home Alone 3, Home Alone 4
• MouseHunt
• Mr. Vampire
• Norbit
• Problem Child, Problem Child 2, Problem Child 3
• The Three Stooges
• Sleeper
• The Inbetweeners Movie
• Dance Flick
• Meet the Spartans'
• The Pink Panther, The Pink Panther 2
• The Naked Gun
• Who Framed Roger Rabbit
• Happy Gilmore
• Vampires Suck
• Jack & Jill

This film genre-related article is a stub. You can help Wikipedia by expanding it. v t e

Buster Keaton
Born	Joseph Frank Keaton (1895-10-04)October 4, 1895 Piqua, Kansas, United States
Died	February 1, 1966(1966-02-01) (aged 70) Woodland Hills, Los Angeles, California, United States
Cause of death	Lung cancer
Occupation	Actor, director, producer and writer
Years active	1898–1966
Influenced	Jackie Chan, Peter Jackson, Mel Brooks, Donald O'Connor, Stanley Donen, Blake Edwards, Nick Park
Spouse	Natalie Talmadge (m. 1921–1932) Mae Scriven (m. 1933–1936) Eleanor Norris (m. 1940-1966; his death)

Joseph Frank "Buster" Keaton (October 4, 1895 – February 1, 1966) was an American comic actor, filmmaker, producer and writer.^[1] He was best known for his silent films, in which his trademark was physical comedy with a consistently stoic, deadpan expression, earning him the nickname "The Great Stone Face".^[2]

Buster Keaton (his lifelong stage name) was recognized as the seventh-greatest director of all time by Entertainment Weekly.^[3] In 1999, the American Film Institute ranked Keaton the 21st-greatest male star of all time. Critic Roger Ebert wrote of Keaton's "extraordinary period from 1920 to 1929, [when] he worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies."^[2]

Orson Welles stated that Keaton's The General is "the greatest comedy ever made, the greatest Civil War film ever made, and perhaps the greatest film ever made."^[4]

A 2002 worldwide poll by Sight & Sound ranked Keaton's The General as the 15th best film of all time. Three other Keaton films received votes in the magazine's survey: Our Hospitality, Sherlock, Jr., and The Navigator.^[5]

Early life in vaudeville[link]

Keaton was born Joseph Frank Keaton^[6] into a vaudeville family. He was named "Joseph" to continue a tradition on his father's side—he was sixth in a line bearing the name Joseph Keaton^[6]—and "Frank" for his maternal grandfather, who disapproved of the parents' union. Later, Keaton changed his middle name to "Francis".^[6] His father was Joseph Hallie "Joe" Keaton, a native of Vigo County, Indiana. Joe Keaton owned a traveling show with Harry Houdini called the "Mohawk Indian Medicine Company", which performed on stage and sold patent medicine on the side. Buster Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labor.^[7]

According to a frequently-repeated story, which may be apocryphal,^[8] Keaton acquired the nickname "Buster" at about eighteen months of age. Keaton told interviewer Fletcher Markle that Harry Houdini happened to be present one day when the young Keaton took a tumble down a long flight of stairs without injury. After the infant sat up and shook off his experience, Houdini remarked, "That was a real buster!" According to Keaton, in those days, the word "buster" was used to refer to a spill or a fall that had the potential to produce injury. After this, it was Keaton's father who began to use the nickname to refer to the youngster. Keaton retold the anecdote over the years, including during a 1964 interview with the CBC's Telescope.^[9]

At the age of three, Keaton began performing with his parents in The Three Keatons. He first appeared on stage in 1899 in Wilmington, Delaware. The act was mainly a comedy sketch. Myra played the saxophone to one side, while Joe and Buster performed on center stage. The young Keaton would goad his father by disobeying him, and the elder Keaton would respond by throwing him against the scenery, into the orchestra pit, or even into the audience. A suitcase handle was sewn into Keaton's clothing to aid with the constant tossing. The act evolved as Keaton learned to take trick falls safely; he was rarely injured or bruised on stage. This knockabout style of comedy led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. He was eventually billed as "The Little Boy Who Can't Be Damaged," with the overall act being advertised as "'The Roughest Act That Was Ever in the History of the Stage."^[10] Decades later, Keaton said that he was never hurt by his father and that the falls and physical comedy were a matter of proper technical execution. In 1914, Keaton told the Detroit News:

The secret is in landing limp and breaking the fall with a foot or a hand. It's a knack. I started so young that landing right is second nature with me. Several times I'd have been killed if I hadn't been able to land like a cat. Imitators of our act don't last long, because they can't stand the treatment.^[10]

Keaton claimed he was having so much fun that he would sometimes begin laughing as his father threw him across the stage. Noticing that this drew fewer laughs from the audience, he adopted his famous deadpan expression whenever he was working.^[11]

The act ran up against laws banning child performers in vaudeville. It is said that, when one official saw Keaton in full costume and makeup and asked a stagehand how old he was, the stagehand then pointed to the boy's mother, saying, "I don't know, ask his wife!" According to one biographer, Keaton was made to go to school while performing in New York, but only attended for part of one day. Despite tangles with the law and a disastrous tour of music halls in the United Kingdom, Keaton was a rising star in the theater. Keaton stated that he learned to read and write late, and was taught by his mother. By the time he was 21, his father's alcoholism threatened the reputation of the family act,^[10] so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film.^[12]

Although he did not see active combat, he served in World War I, during which time he suffered an ear infection that permanently impaired his hearing.^[13][14]

Silent film era[link]

In February 1917, Keaton met Roscoe "Fatty" Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. Joe Keaton disapproved of films, and Buster also had reservations about the medium. During his first meeting with Arbuckle, he asked to borrow one of the cameras to get a feel for how it worked. He took the camera back to his hotel room, dismantled and reassembled it. With this rough understanding of the mechanics of the moving pictures, he returned the next day, camera in hand, asking for work. He was hired as a co-star and gag man, making his first appearance in The Butcher Boy. Keaton later claimed that he was soon Arbuckle's second director and his entire gag department. Keaton and Arbuckle became close friends.

In 1920, The Saphead was released, in which Keaton had his first starring role in a full-length feature. It was based on a successful play, The New Henrietta, which had already been filmed once, under the title "The Lamb" with Douglas Fairbanks playing the lead. Fairbanks recommended Keaton to take up the role for the remake five years later, since the film was to have a comic slant.

After Keaton's successful work with Arbuckle, Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (1920), The Playhouse (1921), Cops (1922), and The Electric House (1922). Keaton then moved to full-length features, his first starring role being in The Saphead (1920).

Keaton's writers included Clyde Bruckman and Jean Havez, but the most ingenious gags were generally conceived by Keaton himself. Comedy director Leo McCarey, recalling the freewheeling days of making slapstick comedies, said, "All of us tried to steal each other's gagmen. But we had no luck with Keaton, because he thought up his best gags himself and we couldn't steal him!"^[15] The more adventurous ideas called for dangerous stunts, performed by Keaton at great physical risk. During the railroad water-tank scene in Sherlock Jr., Keaton broke his neck when a torrent of water fell on him from a water tower, but he did not realize it until years afterward. A scene from Steamboat Bill Jr. required Keaton to run into the shot and stand still on a particular spot. Then, the facade of a two-story building toppled forward on top of Keaton. Keaton's character emerged unscathed, thanks to a single open window which passed directly over him. The stunt required precision, because the prop house weighed two tons, and the window only offered a few inches of space around Keaton's body. The sequence became one of the iconic images of Keaton's career.^[16]

The film critic David Thomson later described Keaton's style of comedy: "Buster plainly is a man inclined towards a belief in nothing but mathematics and absurdity ... like a number that has always been searching for the right equation. Look at his face — as beautiful but as inhuman as a butterfly — and you see that utter failure to identify sentiment."^[17] Gilberto Perez describes "Keaton's genius as an actor to keep a face so nearly deadpan and yet render it, by subtle inflections, so vividly expressive of inner life. His large deep eyes are the most eloquent feature; with merely a stare he can convey a wide range of emotions, from longing to mistrust, from puzzlement to sorrow."^[18] Keaton even inspired full academic study.^[19]

Aside from Steamboat Bill Jr. (1928), Keaton's most enduring feature-length films include Our Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), and The General (1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline reenacted an actual wartime incident. Though it would come to be regarded as Keaton's proudest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy, and reviewers questioned Keaton's judgment in making a comedic film about the Civil War, even while noting it had a "few laughs".^[20] The fact that the heroes of the story were from the Confederate side may have also contributed to the film's unpopularity.

It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements. Keaton endured this treatment for two more feature films, and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, and his career in the early sound era was hurt as a result.^[21]

Sound era and television[link]

Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that the studio system MGM represented would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage, as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton to direct his last originally developed/written silent film The Cameraman, 1928, which was his first project under contract with MGM.

Keaton was forced to use a stunt double during some of the more dangerous scenes, as MGM wanted badly to protect its investment. He also stopped directing, but continued to perform and made some of his most financially successful films for the studio. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber, Speak Easily, and What! No Beer? The latter would be Keaton's last starring feature. The films proved popular. (Thirty years later, both Keaton and Durante had cameo roles in It's a Mad Mad Mad Mad World.)

In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at time and shoot immediately after. This is discussed in the TCM documentary Buster Keaton: So Funny it Hurt, with Keaton complaining about having to shoot lousy films not just once, but three times.

Keaton was so depleted during the production of 1933's What! No Beer? that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées. During this period, he made one other film in Europe, The Invader (released in America as An Old Spanish Custom in 1936).

Educational Pictures[link]

Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself. The high point in the Educational series is Grand Slam Opera, featuring Buster in his own screenplay as an amateur-hour contestant. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (1939) and Go West (1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television.^[22]

Columbia Pictures[link]

In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick made most of these films resemble White's Three Stooges comedies. Keaton's personal favorite was the series' debut entry, Pest from the West, a shorter, tighter remake of Keaton's little-viewed 1935 feature The Invader; it was directed not by White but by Del Lord, a veteran director for Mack Sennett. Moviegoers and exhibitors welcomed Keaton's Columbia comedies, proving that the comedian had not lost his appeal. However, taken as a whole, Keaton's Columbia shorts rank as the worst comedies he made, an assessment he concurred with in his autobiography.^[23] The final entry was She's Oil Mine, and Keaton swore he would never again "make another crummy two-reeler."^[23] These Columbia films are his final starring series for any film studio.

1940s and feature films[link]

Keaton's personal life had stabilized with his 1940 marriage, and now he was taking life a little easier, abandoning Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in both "A" and "B" features. Critics rediscovered Keaton in 1949 and producers occasionally hired him for bigger "prestige" pictures. He had cameos in such films as In the Good Old Summertime (1949), Sunset Boulevard (1950), and Around the World in Eighty Days (1956).

Keaton also had a small bit part as Jimmy, appearing near the end of the film It's A Mad, Mad, Mad, Mad World (1963). Jimmy assisted Spencer Tracy's character, Captain C. G. Culpepper, in storing his police car in a shoreline garage. Keaton was given more screen time in A Funny Thing Happened on the Way to the Forum (1966). The appearance is all the more touching since it was Keaton's last public appearance.

Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952), recalling the vaudeville of The Playhouse. With the exception of Seeing Stars, a minor publicity film produced in 1922, Limelight was the only time in which the two would ever appear together on film.

In 1949, comedian Ed Wynn invited Keaton to appear on his CBS Television comedy-variety show, The Ed Wynn Show, which was televised live on the West Coast. Kinescopes were made for distribution of the programs to other parts of the country since there was no transcontinental coaxial cable until September 1951.

1950s and television[link]

Keaton pretending to have his foot stuck in the railroad tracks of a train ride at Knott's Berry Farm in 1956

In 1950, Keaton had a successful television series, The Buster Keaton Show, which was broadcast live on a local Los Angeles station. An attempt to recreate the first series on film as Life with Buster Keaton (1951), which allowed the program to be broadcast nationwide, was less well-received. He also appeared in the early television series Faye Emerson's Wonderful Town. A theatrical feature film, The Misadventures of Buster Keaton, was fashioned from the series. Keaton said he canceled the filmed series himself because he was unable to create enough fresh material to produce a new show each week. Keaton also appeared on Ed Wynn's variety show. At the age of 55, he successfully recreated one of the stunts of his youth, in which he propped one foot onto a table, then swung the second foot up next to it, and held the awkward position in midair for a moment before crashing to the stage floor. I've Got a Secret host Garry Moore recalled, "I asked (Keaton) how he did all those falls, and he said, 'I'll show you'. He opened his jacket and he was all bruised. So that's how he did it—it hurt—but you had to care enough not to care."

Unlike his contemporary Harold Lloyd, who kept his films from being televised (and therefore became lesser known to today's audiences), Keaton's periodic television appearances helped to revive interest in his silent films in the 1950s and 1960s. In 1954, Keaton played his first television dramatic role in "The Awakening", an episode of the syndicated anthology series Douglas Fairbanks, Jr., Presents. About this time, he also appeared on NBC's The Martha Raye Show.

Keaton as a time traveler in The Twilight Zone episode, "Once Upon a Time", November 1961.

On April 3, 1957, Keaton was surprised by Ralph Edwards for the weekly NBC program This Is Your Life. The half hour program, which also promoted the release of the biographical film The Buster Keaton Story with Donald O'Connor, summarized Keaton's life and career up to that point.^[24]

In December 1958, Keaton was a guest star as a hospital janitor who provides gifts to sick children in a special Christmas episode of The Donna Reed Show on ABC. The program was titled "A Very Merry Christmas". He returned to the program in 1965 in the episode "Now You See It, Now You Don't". The 1958 episode has been included in the DVD release of Donna Reed's television programs.^[25] Actor Paul Peterson, a regular on "The Donna Reed Show," recalls in the book "The Fall of Buster Keaton" (2010, Scarecrow Press) that Keaton "put together an incredible physical skit. His skills were amazing. I never saw anything like it before or since."

In August 1960, Keaton accepted the role of mute King Sextimus the Silent in the national touring company of Once Upon A Mattress, a successful Broadway musical. Eleanor Keaton was cast in the chorus, and during rehearsals, she fielded questions directed at her husband, creating difficulties in communication. After a few days, Keaton warmed up to the rest of the cast with his "utterly delicious sense of humor", according to Fritzi Burr, who played opposite him as his wife Queen Aggravaine. When the tour landed in Los Angeles, Keaton invited the entire cast and crew to a spaghetti party at his Woodland Hills home, and entertained them by singing vaudeville songs.^[26]

In 1960, Keaton returned to MGM for the final time, playing a lion tamer in a 1960 adaptation of Mark Twain's The Adventures of Huckleberry Finn. Much of the film was shot on location on the Sacramento River, which doubled for the Mississippi River setting of Twain's original book.^[27]

In 1961, he starred in The Twilight Zone episode "Once Upon a Time", which included both silent and sound sequences. Keaton played time traveler Mulligan, who traveled from 1890 to 1960, then back, by means of a special helmet.

Keaton also found steady work as an actor in TV commercials, including a popular series of silent ads for Simon Pure Beer made in 1962 by Jim Mohr in Buffalo, NY in which he revisited some of the gags from his silent film days. In 1963, Keaton appeared in the episode "Think Mink" of ABC's Mr. Smith Goes to Washington sitcom, starring Fess Parker.

In 1964, Keaton appeared with Joan Blondell and Joe E. Brown in the final episode of ABC's circus drama, The Greatest Show on Earth, starring Jack Palance. That same year, he appeared on Lucille Ball's CBS television show, The Lucy Show, in an episode ("A Day in the Park") filmed in color but initially televised in black and white; this featured him sitting on a park bench, reading a newspaper, which he gradually unfolded into a huge, single sheet, a gag first seen in his 1921 short The High Sign. Harvey Korman played a policeman in the scene.^[28]

Keaton with fellow comedian Joe E. Brown in a 1962 episode of Route 66.

At the age of 70, Keaton suggested that, for his appearance in the 1965 film Sergeant Deadhead, he run past the end of a firehose into a six-foot-high flip and crash. When director Norman Taurog balked, expressing concerns for Keaton's health, Keaton said, "I won't hurt myself, Norm, I've done it for years!" Keaton also starred in three other films for American International Pictures (Beach Blanket Bingo, Pajama Party, and How to Stuff a Wild Bikini).

In 1965, Keaton starred in a short film called The Railrodder for the National Film Board of Canada. Wearing his traditional porkpie hat, he travelled from one end of Canada to the other on a motorized handcar, performing gags similar to those in films he made 50 years before. The film is also notable for being Keaton's last silent screen performance. The Railrodder was made in tandem with a behind-the-scenes documentary about Keaton's life and times, called Buster Keaton Rides Again, also made for the National Film Board. He played the central role in Samuel Beckett's Film (1965), directed by Alan Schneider. Also in 1965, he traveled to Italy to play a role in Due Marines e un Generale, co-starring alongside with the famous Italian comedian duo of Franco Franchi and Ciccio Ingrassia.

Keaton's last film appearance was in A Funny Thing Happened on the Way to the Forum (1966) which was filmed in Spain in late 1965. He amazed the cast and crew by doing many of his own stunts, although Thames Television said his increasingly ill health did force the use of a stunt double for some scenes.^[29]

Marriages[link]

In 1921, Keaton married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922–2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer.^[30]

According to Keaton's autobiography, Natalie turned him out of their bedroom and hired detectives to follow him. Her extravagance was another factor in the breakdown of the marriage. During the 1920s, according to his autobiography, he dated actress Kathleen Key.^[31]

After attempts at reconciliation, Natalie divorced Keaton in 1932, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. The failure of his marriage, along with the loss of his independence as a filmmaker, led Keaton into a period of alcoholism.^[21]

During the height of his popularity, Keaton spent $300,000 to build a 10,000-square-foot (930 m²) home in Beverly Hills, which was later owned by James Mason and Cary Grant. Keaton's "Italian Villa" can be seen in Keaton's film Parlor, Bedroom and Bath. Keaton later said, "I took a lot of pratfalls to build that dump." Mason found numerous cans of previously "lost" Keaton films in the house in the 1950s; the films were quickly transferred by Raymond Rohauer to safety film before the original cellulose nitrate prints further deteriorated. Among the discovered films is Keaton's long-lost classic The Boat.^[32]

Keaton was at one point briefly institutionalized; however, according to the TCM documentary So Funny it Hurt, Keaton escaped a straitjacket with tricks learned during his vaudeville days. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing (Keaton himself later called that period an "alcoholic blackout"). Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. The singular event that triggered Mae filing for divorce in 1935 was her finding Keaton in flagrante dilecto with the infamous Leah Clampitt Sewell on the 4th of July of that same year in a hotel in Santa Barbara.^[33] When they divorced in 1936, it was again at great financial cost to Keaton.^[34]

In 1940, Keaton married Eleanor Norris (1918–1998), who was 23 years his junior. She has been credited with saving his life by stopping his heavy drinking, and helped to salvage his career. The marriage lasted until his death. Between 1947 and 1954, they appeared regularly in the Cirque Medrano in Paris as a double act. She came to know his routines so well that she often participated in them on TV revivals.

Death[link]

Keaton died of lung cancer on February 1, 1966, aged 70, in Woodland Hills, California.^[35] Despite being diagnosed with cancer in January 1966, he was never told that he was terminally ill or that he had cancer; Keaton thought that he was recovering from bronchitis. Confined to a hospital during his final days, Keaton was restless and paced the room endlessly, desiring to return home. In a British television documentary about his career, his widow Eleanor told producers of Thames Television that Keaton was up out of bed and moving around, and even played cards with friends who came to visit at their house the day before he died.^[36] Eleanor Keaton died in 1998, from emphysema and lung cancer, aged 80.

Buster Keaton, Movie Star

Influence and legacy[link]

Keaton has two stars on the Hollywood Walk of Fame: 6619 Hollywood Boulevard (for motion pictures); and 6321 Hollywood Boulevard (for television).

In 1955, Keaton was awarded The George Eastman Award, given by George Eastman House for distinguished contribution to the art of film.

Jacques Tati is described as "taking a page from Buster Keaton's playbook."^[37]

A 1957 film biography, The Buster Keaton Story, starred Donald O'Connor as Keaton. The screenplay, by Sidney Sheldon (who also directed the film), was vaguely based on his life, but contained many factual errors and merged his three wives into one character. Most of the story centered on his drinking problem. The 1987 documentary, Buster Keaton: A Hard Act to Follow, which won two Emmy Awards and was directed by Kevin Brownlow and David Gill, is considered a much more accurate telling of Keaton’s story.^[38]

In 1994, caricaturist Al Hirschfeld penned a series of silent film stars for the United States Post Office, including Rudolph Valentino and Keaton.^[39] Hirschfeld said that modern film stars were more difficult to depict, that silent film comedians such as Laurel and Hardy and Keaton "looked like their caricatures".^[40]

Keaton's physical comedy is cited by Jackie Chan in his autobiography documentary Jackie Chan: My Story as being the primary source of inspiration for his own brand of self-deprecating physical comedy.

Comedian Richard Lewis stated that Keaton was his prime inspiration, and spoke of having a close friendship with Keaton's widow Eleanor. Lewis was particularly moved by the fact that Eleanor said Lewis' eyes looked like Keaton's.^[41]

Pork pie hats[link]

Keaton seated, in costume, wearing his signature pork pie hat, circa 1939.

Keaton designed and modified his own pork pie hats during his career. In 1964, he told an interviewer that in making "this particular pork pie", he "started with a good Stetson and cut it down", stiffening the brim with sugar water.^[42] The hats were often destroyed during Keaton's wild film antics; some were given away as gifts and some were snatched by souvenir hunters. Keaton said he was lucky if he used only six hats in making a film. Keaton estimated that he and his wife Eleanor made thousands of the hats during his career. Keaton observed that during his silent period, such a hat cost him around two dollars; at the time of his interview, he said, they cost almost $13.^[42]

Keaton in music[link]

In 1987 Italian singer-songwriters Claudio Lolli and Francesco Guccini wrote a song, Keaton, about his work in Italy on the film Due Marines e un Generale

Filmography[link]

See also[link]

Biography portal

• Camille Keaton

References[link]

Further reading[link]

• Agee, James, "Comedy's Greatest Era" from Life (September 5, 1949), reprinted in Agee on Film (1958) McDowell, Obolensky, (2000) Modern Library
• Keaton, Buster (with Charles Samuels), My Wonderful World of Slapstick (1960) Doubleday, (1982) Da Capo Press ISBN 0-306-80178-7
• Blesh, Rudi, Keaton (1966) The Macmillan Company ISBN 0-02-511570-7
• Lahue, Kalton C., World of Laughter: The Motion Picture Comedy Short, 1910-1930 (1966) University of Oklahoma Press
• Lebel, Jean-Patrick, Buster Keaton (1967) A.S. Barnes
• Brownlow, Kevin, "Buster Keaton" from The Parade’s Gone By (1968) Alfred A. Knopf, (1976) University of California Press
• McCaffrey, Donald W., 4 Great Comedians: Chaplin, Lloyd, Keaton, Langdon (1968) A.S. Barnes
• Robinson, David, Buster Keaton (1969) Indiana University Press, in association with British Film Institute
• Robinson, David, The Great Funnies: A History of Film Comedy (1969) E.P. Dutton
• Durgnat, Raymond, "Self-Help with a Smile" from The Crazy Mirror: Hollywood Comedy and the American Image (1970) Dell
• Maltin, Leonard, Selected Short Subjects (first published as The Great Movie Shorts, 1972) Crown Books, (revised 1983) Da Capo Press
• Gilliatt, Penelope, "Buster Keaton" from Unholy Fools: Wits, Comics, Disturbers of the Peace (1973) Viking
• Mast, Gerald, The Comic Mind: Comedy and the Movies (1973, 2nd ed. 1979) University of Chicago Press
• Kerr, Walter, The Silent Clowns (1975) Alfred A. Knopf, (1990) Da Capo Press ISBN 0-394-46907-0
• Anobile, Richard J. (ed.), The Best of Buster: Classic Comedy Scenes Direct from the Films of Buster Keaton (1976) Crown Books
• Yallop, David, The Day the Laughter Stopped: The True Story of Fatty Arbuckle (1976) St. Martin's Press
• Byron, Stuart and Weis, Elizabeth (eds.), The National Society of Film Critics on Movie Comedy (1977) Grossman/Viking
• Moews, Daniel, Keaton: The Silent Features Close Up (1977) University of California Press
• Everson, William K., American Silent Film (1978) Oxford University Press
• Maltin, Leonard, The Great Movie Comedians (1978) Crown Books
• Dardis, Tom, Keaton: The Man Who Wouldn't Lie Down (1979) Scribners, (2004) Limelight Editions
• Benayoun, Robert, The Look of Buster Keaton (1983) St. Martin's Press
• Staveacre, Tony, Slapstick!: The Illustrated Story (1987) Angus & Robertson Publishers
• Edmonds, Andy, Frame-Up!: The Shocking Scandal That Destroyed Hollywood's Biggest Comedy Star Roscoe "Fatty" Arbuckle (1992) Avon Books
• Kline, Jim, The Complete Films of Buster Keaton (1993) Carol Pub. Group
• Meade, Marion, Buster Keaton: Cut to the Chase (1995) HarperCollins
• Rapf, Joanna E. and Green, Gary L., Buster Keaton: A Bio-Bibliography (1995) Greenwood Press
• Oldham, Gabriella, Keaton's Silent Shorts: Beyond the Laughter (1996) Southern Illinois University Press
• Horton, Andrew, Buster Keaton's Sherlock Jr. (1997) Cambridge University Press
• Bengtson, John, Silent Echoes: Discovering Early Hollywood Through the Films of Buster Keaton (1999) Santa Monica Press
• Knopf, Robert, The Theater and Cinema of Buster Keaton (1999) Princeton University Press ISBN 0-691-00442-0
• Keaton, Eleanor, Buster Keaton Remembered (2001) Harry N. Abrams ISBN 0-8109-4227-5
• Mitchell, Glenn, A – Z of Silent Film Comedy (2003) B.T. Batsford Ltd.
• McPherson, Edward, Buster Keaton: Tempest in a Flat Hat (2005) Newmarket Press ISBN 1-55704-665-4
• Oderman, Stuart, Roscoe "Fatty" Arbuckle: A Biography of the Silent Film Comedian (2005) McFarland & Co.
• Neibaur, James L., Arbuckle and Keaton: Their 14 Film Collaborations (2006) McFarland & Co.
• Keaton, Buster, Buster Keaton: Interviews (Conversations with Filmmakers Series) (2007) University Press of Mississippi
• Brighton, Catherine, Keep Your Eye on the Kid: The Early Years of Buster Keaton (2008) Roaring Brook Press (An illustrated children's book about Keaton's career)
• Smith, Imogen Sara, Buster Keaton: The Persistence of Comedy (2008) Gambit Publishing ISBN 978-0-9675917-4-2
• Carroll, Noel, Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping (2009) Wiley-Blackwell
• Neibaur, James L., The Fall of Buster Keaton: His Films for MGM, Educational Pictures, and Columbia (2010) Scarecrow Press

External links[link]

Wikiquote has a collection of quotations related to: Buster Keaton

Wikimedia Commons has media related to: Buster Keaton

• Buster Keaton at the Internet Movie Database
• Buster Keaton at the TCM Movie Database
• The International Buster Keaton Society
• Buster Keaton Museum
• Buster Keaton and the Muskegon Connection
• Buster Keaton in Five Easy Clips
• Buster Keaton Photo Galleries (includes rare images of BK smiling and laughing)
• Buster Keaton as a child performer (Univ. of Washington/Sayre collection)

Oliver Hardy
File:Oliver hardy.png
Born	Norvell Hardy (1892-01-18)January 18, 1892 Harlem, Georgia
Died	August 7, 1957(1957-08-07) (aged 65) North Hollywood, California
Occupation	Actor
Years active	1914-1955
Spouse	Madelyn Saloshin (m.1913-1921; divorced) Myrtle Reeves (m.1921-1937; divorced) Virginia Lucille Jones (m.1940-1957; his death)
Signature

Oliver Hardy (January 18, 1892 - August 7, 1957) was an American comic actor famous as one half of Laurel and Hardy, the classic double act that began in the era of silent films and lasted nearly 30 years, from 1927 to 1955.

Early life[link]

Oliver Hardy was born Norvell Hardy in Harlem, Georgia. His father, Oliver, was a Confederate veteran wounded at the Battle of Antietam on September 17, 1862. After his demobilization as a recruiting officer for Company K, 16th Georgia Regiment, the elder Oliver Hardy assisted his father in running the vestiges of the family cotton plantation, bought a share in a retail business and was elected full-time Tax Collector for Columbia County. His mother, Emily Norvell, the daughter of Thomas Benjamin Norvell and Mary Freeman, was descended from Captain Hugh Norvell of Williamsburg, Virginia. Her family arrived in Virginia before 1635. Their marriage took place on March 12, 1890; it was the second marriage for the widow Emily, and the third for Oliver. He was of paternal English American descent and maternal Scottish American descent.

The family moved to Madison in 1891, before Norvell’s birth. Norvell’s mother owned a house in Harlem, which was either empty or tenanted by her mother. It is probable that Norvell was born in Harlem, though some sources say it was in his mother’s home town, Covington. His father died less than a year after his birth. Hardy was the youngest of five children. A traumatic moment in his life was the death of his brother Sam Hardy in a drowning accident in the Oconee River. Hardy pulled his brother from the river but was unable to resuscitate him.^[1] As a child, Hardy was sometimes difficult. He was sent to Georgia Military College in Milledgeville as a youngster. In the 1905/1906 school year, fall semester (September–January), when he was 13, Hardy was sent to Young Harris College in north Georgia. However, he was in the junior high component of that institution (the equivalent of high school today), not the two-year college which exists today.

He had little interest in education, although he acquired an early interest in music and theater, possibly from his mother’s tenants. He joined a theatrical group, and later ran away from a boarding school near Atlanta to sing with the group. His mother recognized his talent for singing, and sent him to Atlanta to study music and voice with singing teacher Adolf Dahm-Petersen, but Hardy skipped some of his lessons to sing in the Alcazar Theater, a cinema, for US$3.50 a week. He subsequently decided to go back to Milledgeville.

Sometime prior to 1910, Hardy began styling himself "Oliver Norvell Hardy", with the first name “Oliver” being added as a tribute to his father. He appeared as “Oliver N. Hardy” in the 1910 U.S. census,^{[N 1]} and in all subsequent legal records, marriage announcements, etc., Hardy used “Oliver” as his first name.

Hardy’s mother wanted him to attend the University of Georgia in the fall of 1912, to study law, but there is no evidence as to whether he did.

Career[link]

Early career[link]

In 1910, a movie theater opened in Hardy’s home town of Milledgeville, Georgia, and he became the projectionist, ticket taker, janitor and manager. He soon became obsessed with the new motion picture industry, and became convinced that he could do a better job than the actors he saw on the screen. A friend suggested that he move to Jacksonville, Florida, where some films were being made. In 1913, he did just that, where he worked as a cabaret and vaudeville singer at night, and at the Lubin Manufacturing Company during the day. It was at this time that he met and married his first wife, pianist Madelyn Saloshin.

The next year he made his first movie, Outwitting Dad, for the Lubin studio. He was billed as O. N. Hardy, taking his father’s name as a memorial. In his personal life, he was known as “Babe” Hardy, a nickname that he was given by an Italian barber, who would apply talcum powder to Oliver’s cheeks and say, “nice-a-bab-y.” In many of his later films at Lubin, he was billed as “Babe Hardy.” Hardy was a big man at six feet, one inch tall and weighed up to 300 pounds. His size placed limitations on the roles he could play. He was most often cast as “the heavy” or the villain. He also frequently had roles in comedy shorts, his size complementing the character.

Lobby card for The Lucky Dog (1921) Laurel sits as Hardy holds him down, with Jack Lloyd (right)

By 1915, he had made 50 short one-reeler films at Lubin. He later moved to New York and made films for the Pathé, Casino and Edison Studios. He then returned to Jacksonville and made films for the Vim Comedy Company, until that studio closed its doors after Hardy discovered the owners were stealing from the payroll.^[2] He then worked for the King Bee studio after they bought Vim. He worked with Charlie Chaplin imitator Billy West and comedic actress Ethel Burton Palmer during this time. (Hardy continued playing the “heavy” for West well into the early 1920s, often imitating Eric Campbell to West’s Chaplin.) In 1917, Oliver Hardy moved to Los Angeles, working freelance for several Hollywood studios. Later that year, he appeared in the movie The Lucky Dog, produced by G.M. (“Broncho Billy”) Anderson and starring a young British comedian named Stan Laurel.^[3] Oliver Hardy played the part of a robber, trying to stick up Stan’s character. They did not work together again for several years.

Between 1918 and 1923, Oliver Hardy made more than forty films for Vitagraph, mostly playing the “heavy” for Larry Semon. In 1919, he separated from his wife, ending with a divorce in 1920, allegedly due to Hardy’s infidelity. The very next year, on November 24, 1921, Hardy married again, to actress Myrtle Reeves. This marriage was also unhappy and Myrtle eventually became an alcoholic.^{[citation needed]}

In 1924, Hardy began working at Hal Roach Studios working with the Our Gang films and Charley Chase. In 1925, he starred as the Tin Man in the Wizard of Oz. Also that year he was in the film, Yes, Yes, Nanette!, starring Jimmy Finlayson, who in later years would be a recurring actor in the Laurel and Hardy film series. The film was directed by Stan Laurel.^[4] He also continued playing supporting roles in films featuring Clyde Cooke and Bobby Ray.

In 1926, Hardy was scheduled to appear in Get ’Em Young but was unexpectedly hospitalized after being burned by a hot leg of lamb. Laurel, who had been working as a gag man and director at Roach Studios, was recruited to fill in.^[5] Laurel kept appearing in front of the camera rather than behind it, and later that year appeared in the same movie as Hardy, 45 Minutes from Hollywood, although they didn’t share any scenes together.

With Stan Laurel[link]

In 1927, Laurel and Hardy began sharing screen time together in Slipping Wives, Duck Soup (no relation to the 1933 Marx Brothers’ film of the same name) and With Love and Hisses. Roach Studios’ supervising director Leo McCarey, realizing the audience reaction to the two, began intentionally teaming them together, leading to the start of a Laurel and Hardy series later that year. With this pairing, he created arguably the most famous double act in movie history. They began producing a huge body of short movies, including The Battle of the Century (1927) (with one of the largest pie fights ever filmed), Should Married Men Go Home? (1928), Two Tars (1928), Unaccustomed As We Are (1929, marking their transition to talking pictures) Berth Marks (1929), Blotto (1930), Brats (1930) (with Stan and Ollie portraying themselves, as well as their own sons, using oversized furniture sets for the ‘young’ Laurel and Hardy), Another Fine Mess (1930), Be Big! (1931), and many others. In 1929, they appeared in their first feature, in one of the revue sequences of Hollywood Revue of 1929 and the following year they appeared as the comic relief in a lavish all-color (in Technicolor) musical feature entitled The Rogue Song. This film marked their first appearance in color. In 1931, they made their first full length movie (in which they were the actual stars), Pardon Us although they continued to make features and shorts until 1935. The Music Box, a 1932 short, won them an Academy Award for best short film — their only such award.

In 1936, Hardy’s personal life suffered a blow as he and Myrtle divorced. While waiting for a contractual issue between Laurel and Hal Roach to be resolved, Hardy made Zenobia with Harry Langdon. Eventually, however, new contracts were agreed and the team was loaned out to producer Boris Morros at General Service Studios to make The Flying Deuces (1939). While on the lot, Hardy fell in love with Virginia Lucille Jones, a script girl, whom he married the next year. They enjoyed a happy, successful marriage until his death.

In the early 1940s, Laurel and Hardy made A Chump at Oxford (1940) (which features a moment of role reversal, with Oliver becoming a subordinate to a temporarily concussed Stan) and Saps at Sea (1940) before leaving Roach Studios. They began performing for the USO, supporting the Allied troops during World War II, and teamed up to make films for 20th Century Fox, and later MGM. Although they were financially better off, they had very little artistic control at the large studios, and hence the films lack the very qualities that had made Laurel and Hardy worldwide names. Their last Fox feature was The Bullfighters (1945), after which they declined to extend their contract with the studio.

In 1947, Laurel and Hardy went on a six week tour of the United Kingdom. Initially unsure of how they would be received, they were mobbed wherever they went. The tour was then lengthened to include engagements in Scandinavia, Belgium, France, as well as a Royal Command Performance for King George VI and Queen Elizabeth. Biographer John McCabe said they continued to make live appearances in the United Kingdom and France for the next several years, until 1954, often using new sketches and material that Laurel had written for them.

Oliver Hardy in The Fighting Kentuckian, 1949

In 1949, Hardy’s friend, John Wayne, asked him to play a supporting role in The Fighting Kentuckian. Hardy had previously worked with Wayne and John Ford in a charity production of the play What Price Glory? while Laurel began treatment for his diabetes a few years previously. Initially hesitant, Hardy accepted the role at the insistence of his comedy partner. Frank Capra later invited Hardy to play a cameo role in Riding High with Bing Crosby in 1950.

During 1950–51, Laurel and Hardy made their final film. Atoll K (also known as Utopia) was a simple concept; Laurel inherits an island, and the boys set out to sea, where they encounter a storm and discover a brand new island, rich in uranium, making them powerful and wealthy. However, it was produced by a consortium of European interests, with an international cast and crew that could not speak to each other.^[6] In addition, the script needed to be rewritten by Stan to make it fit the comedy team’s style, and both suffered serious physical illness during the filming.

In 1955, the pair had contracted with Hal Roach, Jr., to produce a series of TV shows based on the Mother Goose fables. They would be filmed in color for NBC.^{[citation needed]} However, this was never to be. Laurel suffered a stroke, which required a lengthy convalescence. Hardy had a heart attack and stroke later that year, from which he never physically recovered.

Death[link]

In May 1954, Hardy suffered a mild heart attack. During 1956, Hardy began looking after his health for the first time in his life. He lost more than 150 pounds in a few months which completely changed his appearance. Letters written by Stan Laurel, however, mention that Hardy had terminal cancer,^[7] which has caused some to suspect that this was the real reason for Hardy’s rapid weight loss. Hardy was a heavy smoker, as was Stan Laurel. Hal Roach made the statement they were a couple of "freight train smoke stacks".^{[citation needed] [8]} Hardy suffered a major stroke on September 14, which left him confined to bed and unable to speak for several months. He remained at home, in the care of his beloved Lucille. He suffered two more strokes in early August 1957, and slipped into a coma from which he never recovered. Oliver Hardy died on August 7, 1957, at the age of 65.^{[9][N 2]} His remains are located in the Masonic Garden of Valhalla Memorial Park Cemetery in North Hollywood. ^[10]

Stan Laurel was too ill to go to his film partner and friend's funeral. He stated, "Babe would understand."^{[citation needed]}

Legacy[link]

Statue of Stan Laurel and Oliver Hardy outside the Coronation Hall Theatre, Ulverston, Cumbria, England

• Hardy’s star on the Hollywood Walk of Fame is located at 1500 Vine Street, Hollywood, California.
• The Dick Van Dyke Show episode The Sam Pomerantz Scandals, Dick van Dyke's character, Rob Petrie, and Sam Pomerantz, one of Rob's old army buddies played by Henry Calvin do their own impression of a Laurel and Hardy sketch.
• In 1999, merchandiser Larry Harmon produced the direct-to-video film The All New Adventures of Laurel and Hardy: For Love or Mummy starring Bronson Pinchot and Gailard Sartain as the comedy duo.
• There is a small Laurel and Hardy Museum in Hardy's hometown of Harlem, Georgia, which opened on July 15, 2000. Every year, the first Saturday in October, Oliver Hardy is celebrated and remembered with the Oliver Hardy Festival in this town.
• Laurel and Hardy are featured on the cover of The Beatles' album Sgt. Pepper's Lonely Hearts Club Band.

Filmography[link]

• For Oliver Hardy’s films without Stan Laurel, see: Filmography of Oliver Hardy
• For his films with Laurel, see: Laurel and Hardy films

See also[link]

• Laurel and Hardy music

References[link]

Notes

Citations

Bibliography

External links[link]

Wikiquote has a collection of quotations related to: Oliver Hardy

Wikimedia Commons has media related to: Oliver Hardy

• Oliver Hardy at the Internet Movie Database
• The Laurel and Hardy Magazine Website
• Official Laurel and Hardy Website
• The Laurel and Hardy Forum
• Oliver Hardy at Find a Grave
• Free clip from Bouncing Baby (1916), made available for public use by the State Archives of Florida

• Oliver Hardy's obituaries in the Los Angeles Times and Los Angeles Mirror-News

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011)

Benny Hill
A waxwork of Hill in character as Fred Scuttle on The Benny Hill Show
Birth name	Alfred Hawthorne Hill
Born	(1924-01-21)21 January 1924[1] Southampton, Hampshire, England
Died	20 April 1992(1992-04-20) (aged 68) Teddington, London, England
Medium	Comedian, actor
Nationality	British
Years active	1937–1992
Genres	Comedy, television
Influences	Jack Benny
Notable works and roles	The Benny Hill Show (1951–91) Who Done It? (1956) Light Up the Sky! (1960) Those Magnificent Men in Their Flying Machines (1965) Chitty Chitty Bang Bang (1968) The Italian Job (1969)

Benny Hill (21 January 1924 – 20 April 1992) was an English comedian and actor, notable for his long-running television programme The Benny Hill Show.

Early life[link]

This unreferenced section requires citations to ensure verifiability.

Alfred Hawthorne Hill was born in Southampton and attended Taunton's School. During World War II, he was evacuated to Bournemouth.^{[citation needed]}

After leaving school, Hill worked at Woolworth's,^[2] as a milkman, a bridge operator, a driver and a drummer before he finally got a foot in the door of the entertainment industry by becoming assistant stage manager with a touring review. He was called up in 1942 and trained as a mechanic, but transferred to the Combined Services Entertainment^[3] division before the end of the war. It was there that he met his future agent, Richard Stone, then a colonel.^{[citation needed]}

Inspired by the "star comedians" of British music hall shows, Hill set out to make his mark in show business. For the stage, he changed his first name to 'Benny', in homage to his favourite comedian, Jack Benny.^[2] Hill began appearing at working men's clubs and Masonic dinners before moving on to nightclub and theatre jobs. Hill auditioned for Soho's famed Windmill Theatre (home of Revudeville, a popular show of singers, comedians and nude girls), but he was not hired. Hill's first job in professional theatre as a performer was as Reg Varney's straight man, beating a then unknown Peter Sellers to the role.^{[citation needed]}

Career[link]

Between the end of World War II and the dawn of television, Hill worked as a radio performer. His first appearance on television was in 1950. In addition, he attempted a sitcom anthology, Benny Hill, which ran from 1962 to 1963, in which he played a different character in each episode. In 1964, he played Nick Bottom in an all-star TV film production of William Shakespeare's A Midsummer Night's Dream. He also had a short-lived radio programme, Benny Hill Time, on BBC Radio's Light Programme from 1964 to 1966.

Films and recordings[link]

Benny Hill's film credits include parts in nine films including Who Done It? (1956); Those Magnificent Men in Their Flying Machines (1965); Chitty Chitty Bang Bang (1968), in which he played the relatively straight role of the Toymaker; The Italian Job (1969); and, finally, a clip-show film spin-off of his early Thames shows (1969–73), called The Best of Benny Hill (1974). Hill's audio recordings include Gather in the Mushrooms, (1961), Pepys' Diary (song), (1961), Transistor Radio (1961), Harvest of Love (1963), and Ernie (The Fastest Milkman In The West) (1971). He also appeared in the 1986 video of the song Anything She Does by the band Genesis. Hill's song, Ernie (The Fastest Milkman In The West), on the Best of Benny Hill album, was the UK Singles Chart Christmas number one single in 1971.^[4]

The Benny Hill Show[link]

Hill had struggled on stage and had uneven success in radio. But in television he found a form that played to his strengths, allowing him a format that included live comedy and filmed segments, with him at the focus of almost every segment. It was to prove one of the great success stories of television comedy, keeping Hill a star for nearly four decades, generating impressive revenues for Thames TV, and remaining a cult series in much of the world long after Hill's death.

The show had a music hall-derived format and its humour relied on slapstick, innuendo, and parody. Recurring players on his show during the BBC years included Patricia Hayes, Jeremy Hawk, Peter Vernon, Ronnie Brody, and his co-writer from the early 1950s to early 1960s, Dave Freeman. He remained mostly with the BBC through to 1968, except for a few sojourns with ITV station ATV between 1957 and 1960 and again in 1967. In 1969, his show moved from the BBC to Thames Television, where it remained until cancellation in 1989, with an erratic schedule of one-hour specials. The series showcased Hill's talents as an imaginative writer, comic performer and impressionist. He also bought scripts from various comedy writers but they never received an onscreen credit. He had a need to be in sole control of the show. There is evidence that he bought a script from one of his regular cast members in 1976, Cherri Gilham, whom he wrote to from Spain and told her he was using her "Fat Lady idea on the show" in January 1977.

The most common running gag in Benny Hill's shows was the closing sequence, The 'run-off', which was literally a "running gag" in that it featured various members of the cast chasing Hill as part of the chase, along with other stock comedy characters, such as policemen, vicars, old ladies, and so on. This was commonly filmed using stop motion and time-lapse techniques for comic effect, and included other comic devices such as characters running off one side of the screen and reappearing running on from the other. The tune used in all the chases, Boots Randolph's "Yakety Sax", is commonly referred to as "The Benny Hill Theme". It has been used as a form of parody in many ways by television shows and a small number of films. The Wachowskis used the same style (and musical theme) in a scene in the film V for Vendetta (2006). It also appears in the cult movie The Gods Must Be Crazy.

From the start of the eighties the show featured a troupe of attractive young women, known collectively as 'Hills Angels'. They would appear either on their own in a dance sequence, or in character as foils against Hill. Sue Upton, one of the longest serving members of the Angels, said of Hill, "He was one of the nicest, kindest, most gentle of men to work with".^{[citation needed]} However, the sexual content of the routines contributed to feminist accusations of sexism.^{[citation needed]}

The alternative comedian Ben Elton made a headline-grabbing allegation, both on the TV show Saturday Live and in the pages of Q magazine (in its January 1987 issue), that The Benny Hill Show was single-handedly responsible for the incidences of rape in England during the period in question, and also suggested the programme incited other acts of violence against women.^[5] But a writer in The Independent newspaper opined that Elton's assault was "like watching an elderly uncle being kicked to death by young thugs".^[6] Elton later claimed his comment was taken out of context, and he appeared in a parody for Harry Enfield and Chums, Benny Elton, where Elton ends up being chased by angry women, accompanied by the "Yakety Sax" theme, after trying to force them to be more feminist rather than letting them make their own decisions.

In response to the accusations of sexism, defenders of Hill have said the show used traditional comic stereotypes to reflect universal human truths in a way that was non-malicious and fundamentally harmless. Hill's friend and producer Dennis Kirkland said it was the women who chased Hill in anger for undressing them, all of which was done accidentally by some ridiculous means. An article on 27 May 2006 in The Independent quoted Hill and Kirkland as saying they believed this misrepresentation demonstrated critics could not have watched his programmes.^{[citation needed]}

In an episode about Hill transmitted as part of the documentary series Living Famously, John Howard Davies, the head of light entertainment at Thames Television who had cancelled the show, stated there were three reasons why he did so: "The audiences were going down, the programme was costing a vast amount of money, and he (Hill) was looking a little tired."^{[citation needed]}

The loss of his show totally devastated Hill (or, as one former supporting player put it, "He started to die from there"), and what followed was a self-inflicted decline in his health. In 1990 a new show was produced complete with Hill and his usual team, called Benny Hill's World Tour: New York!.

In February 1992, Thames Television, which received a steady stream of requests from viewers for The Benny Hill Show repeats, finally gave in and put together a number of re-edited shows. Hill died on 20 April 1992, the same day that a new contract arrived in the post from Central Independent Television, for which he was to have made a series of specials. Hill turned down competing offers from Carlton and Thames.

Celebrity fans[link]

Charlie Chaplin was a fan of Hill's work: Hill had discovered that Chaplin, his childhood idol, was a fan when he was invited to Chaplin's home in Switzerland by Chaplin's family and discovered that Chaplin had a collection of Hill's work on video. Hill and Dennis Kirkland were the first outside the family to be invited into Chaplin's private study. Hill was awarded the Charlie Chaplin International Award for Comedy at the 1991 Festival of Comedy in Vevey, Switzerland.^[7]

Radio and TV show host Adam Carolla claimed that he was a fan of Benny Hill and that he considered Hill "as American as the Beatles." Indeed, during an episode of The Man Show, Carolla performed in what was billed as a tribute to "our favourite Englishman, Sir Benny Hill" in a more risqué takeoff of the sketches that Hill popularised. (Note: Hill was never knighted.) Carolla played a rude and lecherous waiter; a role Hill essayed numerous times in his shows—and the sketch featured many of the staples of Hill's shows, including a Jackie Wright-esque bald man, as well as the usual scantily-clad women.

Michael Jackson was a Benny Hill fan: "I just love your Benny Hill!" the young Jackson told a bemused English music-press critic during a 1970s tour. "He's so funny!". During Benny Hill's decline in his health he was visited by Jackson, who was in the UK at the time.

In Benny Hill: The World's Favourite Clown, filmed shortly before his death, celebrities such as Burt Reynolds, Michael Caine, John Mortimer, Mickey Rooney, and Walter Cronkite, among others, expressed their appreciation of and admiration for Hill and his humour – and in Reynolds' case, the appreciation extended to the Hill's Angels as well. More surprisingly, perhaps, the novelist Anthony Burgess made no secret of his admiration for Hill. Burgess, whose novels were often comic, relished language, wordplay and dialect, admired the verbal and comedic skill that underlay Hill's success. Reviewing a biography of Hill, Saucy Boy, in the Guardian in 1990, Burgess described Hill as "a comic genius steeped in the British music-hall tradition" and "one of the great artists of our age". A meeting between the two men was described in a newspaper article by Burgess and recalled in the Telegraph newspaper by the satirist Craig Brown.^[8]

In 2006, broadcaster and critic Garry Bushell launched a campaign to erect a statue of Hill in Southampton, with the support of Barbara Windsor, Brian Conley and other British comedy favourites. Those taking part in the first fundraising concert included Neville Staple, Right Said Fred and Rick Wakeman.

In a June 2011 interview in The Observer, the American rapper Snoop Dogg declared himself to be a fan of Benny Hill.^[9]

In a 2011 interview British actor and director Mark Noyce stated that Benny Hill was his all-time favourite comedian. He was quoted as saying “he was way ahead of his time and an absolute master of his art. I would have loved the opportunity to have met him and I hope he will be remembered as the genius I believe he was.”^[10]

Personal life[link]

Hill never married, although he did propose to three women—one the daughter of a British writer—but was turned down by all three. Although he owned the family home in Southampton, he never owned his own home in London, nor a car. Hill preferred to rent a place to live rather than buy one, first a large double apartment in Queensgate, London for 26 years until 1986, and then a small flat in Teddington, London, within walking distance of the studios of Thames Television where he recorded his shows.

His mother died in 1976 at age 82, and Hill kept the family house at 22 Westrow Gardens in Southampton as a shrine to her, not changing a thing. Before his move to Teddington, whilst looking for somewhere else to live in the Richmond area of London, he lived at 22 Westrow Gardens. Travelling was the one luxury Hill permitted himself; he became a francophile, enjoying frequent visits to France, and in particular Marseille, where until the 1980s he could enjoy anonymity in outdoor cafés, on public transport, and socialising with local women. Besides mastering French, Hill also spoke enough German, Dutch and Italian to get by when travelling. Such holidays were often gathering missions for comedy material, borrowed from regional acts.

Death[link]

After suffering a mild heart attack on 24 February 1992, doctors told him he needed to lose weight and recommended a heart bypass. He declined, and a week later was found to have kidney failure. Hill died at the age of 68 on 20 April 1992.^[1] On 22 April, after several days of unanswered telephone calls, his producer, Dennis Kirkland, climbed a ladder to the balcony of Hill's 3rd floor apartment and upon seeing the body through a window had the neighbours call the police. The police broke into the apartment and found Hill, dead, sitting in his armchair in front of the television. Hill's cause of death was recorded as coronary thrombosis.^[11]

Hill was buried at Hollybrook Cemetery near his birthplace in Southampton on 26 April 1992. In October 1992, following rumours that he was buried with large amounts of gold jewellery, an attempt was made by thieves to exhume his body. When authorities looked into his open grave the following morning "The vandals had dug down, exposing his coffin [...] Within two hours of the discovery, cemetery staff had refilled the grave and covered it with a half-ton concrete slab."^[12]

Hill's fortune was estimated at £10 million. His only will, however, dated from 1961 and left his entire estate to his parents, both of whom had since died. Next in line were his brother Leonard and sister Diana, both of whom were also dead. This left his seven nieces and nephews, among whom the money was divided. A note was found among his belongings assigning huge sums of money to his close friends, but because there was no witness the note had no legal standing.^{[citation needed]}

Posthumous reception[link]

Although still shown worldwide, The Benny Hill Show has not been shown on UK terrestrial, networked television since a tribute season on Channel 4 in 1992, and not on satellite or cable since a run on the now defunct channel Granada Plus – now ITV3 – in 1999. To quote his biographer Mark Lewisohn, "In Britain, Benny Hill is taboo". In the United States the show has recently been aired on the BBC America cable channel and over Tribune Broadcasting's Antenna TV digital subchannel network. An Australian channel, Seven Network, showed some episodes as part of a Great Comedy Classics slot. On the new Australian channel 7TWO, The Benny Hill Show is shown frequently. In Italy, Sky television broadcasts quite regularly on Comedy Channel. And in Finland the channel MTV3 MAX presents "The Benny Hill Show" every weekend.

In 1998 Channel 4 featured Hill in one of its Heroes Of Comedy programmes.

On 28 December 2006, Channel 4 broadcast the documentary Is Benny Hill Still Funny?. The programme featured an audience that comprised a cross-section of young adults who had little or no knowledge of Hill, to discover whether Hill's comedy was valid to a generation that enjoyed the likes of Little Britain, The Catherine Tate Show and Borat. The participants were asked to watch a 30-minute compilation that included examples of Hill's humour from both his BBC and ITV shows. The responses and results demonstrated that none of the sample of viewers took offence at any of the sketches shown.

Hill's silent "Wishing Well" sketch was discovered to be the most popular. The alternative comedian Ben Elton, who had criticised Hill for sexism, was interviewed in the programme. Elton said he still had reservations about certain aspects of Hill's sketches, but claimed to be an admirer of Hill's talent and abilities as a comic performer.

References[link]

Notes