Roscoe “Fatty” Arbuckle may not have raped and manslaughtered anyone, but he does spank Teddy, “the Keystone dog,” in FATTY AND MABEL ADRIFT, a rather good comedy he directed in 1916. Mabel, of course, is Mabel Normand. I’ve been watching lots of her stuff recently and you can expect to read about more of it here.
The film opens with a slightly uncanny, Meliesian sequence of Fatty and Mabel in heart vignettes and a naked little boy as Cupid conjoining them with a well-aimed arrow from his quiver. My DVD added soupy saxophone music to this, giving it an inappropriate LAST TANGO IN PARIS vibe, so I muted that and randomly played a CD, which turned out to be the soundtrack to THOMAS by Amedeo Tomassi, which gave everything a giallo quality. This, strangely, was less problematic. Though it did make Al St. John seem like Max Cady.
St John plays a jealous jilted type, interfering in newlyweds Fatty & Mabel’s domestic bliss in a way that seems to prefigure the triangle in Keaton’s ONE WEEK. Instead of sabotaging the couple’s made-from-a-kit new home as in the Keaton film, St John enlists the aid of some bandits to tow the cottage out to sea. The honeymoon has been a rather asexual affair, with Mabel bedding down with Teddy the dog while Fatty restrains himself to a kiss on the brow, delivered not in person but by his shadow. You can’t get safer sex than that.
So one could argue that St John hasn’t really interrupted anything.
This is one of the more structured Keystone films I’ve seen, though arguably it begins too early, before the marriage, to no major effect. But I enjoyed how it spent time on different aspects of the central relationship, with sitcom business about Mabel’s inedible rock cakes, which even Teddy won’t touch. When Mabel tested a rock cake by tapping it on her skull, Amedio Tomassi obligingly provided two perfectly synched percussion beats, despite the fact that he was on a separate disc playing at random.
Arbuckle throws himself about frenetically, of course, and St John’s vigorous knockabout is impressive — he’s not a particularly charming clown, so the heavy role suits him well. Mabel is domesticated, which is a shame — she gets to spread her wings more in star vehicles like MICKEY, and the crude kick-up-the-arse stuff she did with Chaplin (eg THE FATAL MALLET) is also refreshing. You don’t expect to see women mixing it with men in the more violent skits, but Mabel was a game girl.
I think more gags could have been devised out of the promising situation of a house at sea, also, but the mere sight of Fatty, Mabel and a confused Teddy bobbing about in their respective beds in the waterlogged cottage cracked me up. They make that last quite a while without anything in particular happening, and it’s all good stuff.
Anyhow, the bandit chief (Wayland Trask) is a real tough guy, swigging gasoline and eating dynamite and living in a cave on the beach. Yet he has a business card.