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Slip
I remember the first time I saw a Charley Bowers comedy as part of a
silent film variety program; it was like nothing I'd ever seen
before—well, not quite. There are moments when he bears an uncanny
resemblance to Buster Keaton: slightly built, with dark side-parted
hair and a long, pale face. His ingenious underdog character also
recalls Keaton, as does his interest in machinery, but his films are
much zanier, more truly bizarre and surreal. Keaton, especially in his
feature films, was a stickler for logic, authenticity, and believable
stories. Bowers was an illusionist; the core of his art is the
dream-like fantasies he created through stop-motion animation: cars
hatching from eggs, a stuffed doll coming to life, a mouse firing a
gun. His background was in cartooning and animation, and he brought a
loopy, far-out sensibility that is closer to the cartoons of the
Fleischer Brothers than to the work of any other silent comedians. But
comparisons are inadequate; Charley Bowers was unique.
While he's not a great performer, Charley is a winning presence in his
own films. The key-note of his character is enthusiasm: he's constantly
bounding and hopping around in excitement over his inventions. He
always plays an inventor (at least in every film I've seen), a guy with
a one-track mind, calmly monomaniacal, unquenchably visionary. He
invents a process that renders egg-shells unbreakable, grafts a
pussy-willow bush that grows live cats, builds a fully-automated
restaurant kitchen and constructs a pair of shoes that dance by
themselves. As a friend of mine pointed out, Charley was an early type
of the "techno-geek," a technically brilliant guy who is weak in social
skills. His off-beat behavior often sabotages his success; a lot of the
time, he doesn't get the girl. Many of his films follow the downbeat
pattern of THE MAN IN THE WHITE SUIT: violent hostility overtakes the
well-meaning inventor when his inventions go awry or threaten the
status quo.
Charley Bowers' films are usually more mind-boggling than
laugh-out-loud funny, but MANY A SLIP is simply hilarious. It starts
with a delicious premise: Charley the inventor sets out to develop a
formula for non-slippery banana peels. (Has he considered how many
slapstick comedians this would throw out of work?) He hides out in a
basement workshop, avoiding the interference of his battle-ax
mother-in-law, and he goes about his work with methodical zeal. He has
a spidery multi-armed machine that dunks peels in experimental
solutions (everything in his workshop is labeled "patent applied for")
and he tests the treated peels himself, trudging heroically up a
staircase and letting himself skid to the bottom. When he gets tired of
that he starts planting them for others to slip on, popping out of trap
doors and poking a fishing-rod out of a hidden window. A montage of
pratfalls follows, until he finally achieves a peel with good traction.
It's not too surprising when the man who offers him $50,000 for the
invention turns out to be an escaped lunatic.
Believe it or not, this is one of the less weird Bowers films I've
seen. It contains only a small segment of animation, when Charley looks
through a kind of microscope (it looks like a giant, inverted
telescope) and discovers the germ that's responsible for making banana
peels slippery, a little critter that skates and slithers around
woozily. This is scientific progress, silent comedy style.
NOTE: When I watched this film on the excellent Lobster Films DVD
"Charley Bowers: the Rediscovery of an American Comic Genius," I didn't
realize that I was seeing only the second half of a two-reel film, all
that survived at the time. Then, at a screening presented by Serge
Bromberg, the head of Lobster Films, I got to see the whole thing, a
complete print having recently turned up. Most of the best stuff is in
the latter half anyway, but the first reel shows the arrival of
Charley's mother-in-law and her two dreadful sons for a visit, and some
of Charley's other inventions, including a bicycle-powered player-piano
and a self-feeding coal boiler that causes the radiator to melt into a
puddle. We also see a man (who returns at the end) offer Charley a
reward for the invention of a non-skid banana skin. Enraged by
Charley's erratic inventions, his mother-in-law storms off to the
police station—and that's where the version on the DVD picks up. Here's
hoping that more lost Charley Bowers work will be discovered—there's
nothing else like it.
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