Willful Ambrose (Swain 1915)

I've come to the conclusion that I've never seen anyone in my life quite like Mack Swain. His face was just a weird one- permanently contorted into a kind of teenager's gormless disgusted sneer, like he's just been told by his parents that he's got to be in by one o'clock- no later. But it's that sneer on the body of a big lumbering oaf of a man that is so odd. He's a bully and a slob and I can't think of another comic so firmly rooted in the mid 1910s as Swain. And for that reason he's interesting. And, as I've said before, in small occasional doses I can find him quite watchable.
Ambrose and wife have a falling out after he shoots up her beer stein. He takes his child-woman daughter out with him to get a replacement- they run into trouble with another couple in the park intent on acquiring a beer stein of their own. I think you can tell that I don't really know what a beer stein is.
So, help me out, I'm struggling: the sexy dark-haired girl in the park- is that Mae Busch? Or is that Minta Durfee? I'm sure I'm going to look back at myself in a few months time and shake my head in despair at my ignorance- I liked her, I thought she was attractive and very modern looking, but I only know Mae Busch from her Laurel and Hardy stuff a decade and a half later, and all I know about Minta Durfee is that she was Mrs Arbuckle. IMDB tells me the girl in the park is one of them, but such is my horrendous ignorance, I don't know which one. Can you imagine the difficulty of this situation for me? Especially when some of my comments about Mae Busch before have been less than flattering.
No-one will find 'Willful Ambrose' particularly funny of course, but I think a pleasant feeling of bafflement and bemusement is not unwelcome on occasions, and you certainly get that with the Swain Keystones. And damn it I enjoyed this. I found some of the stuff with the backwards daughter just... weird, but hey, weird's good too.

Ambrose's Fury (Swain 1915)

The prime concern of men in the first couple of decades in the last century was getting one over on their women. The documentary evidence for this is undeniable. Swain's on great form here- a much put-upon and bullied husband, he escapes for a day at the beach with the girl next door. It's like a one-reel Carry On film.
There's a- comparatively- huge cast to keep an eye on here, which can always be a bit bewildering when they're mostly new faces to you, and in all honesty I didn't have a clue what was going on after about the six minute mark. The whole thing turns into a farce with people swapping clothes and hiding under beds and running on and off screen. It would all be guesswork really if I tried to convey what was going on.
I like Mack Swain a lot, though there's always the sneaking suspicion that he feels he's slumming it a little, that this is all a bit beneath him. Well to be honest he'd be right here, but his expressions and general demeanour make him very watchable.
Conklin's part is small. As it were. And the film itself- I suspect I won't remember a single frame of it in a few weeks time.

Ambrose's Lofty Perch (Swain 1915)

Well now this is all very interesting. A kind of fantasy piece with Swain playing his usual role but transported to a land of kings and outlaws. Is it a fantasy or a medieval period piece? Or a melodramatic pastiche? In all honesty you won't care: it is dire.
Very, very sloppily put together, even by the standard of these things- pretty much the whole of the first four of five minutes is filmed from a single, awkward camera angle, and the actors- dancing girls mostly (and one thing in the film's favour is the surplus of cavorting females)- are herded in front of it and then led off again. Now if the material was ok this wouldn't matter but... it's not. The odd thing is that there aren't really any attempts at laughs. Ambrose has an arrow shot at his bottom. Seriously, that's it. That's your gag quota. Oh ok, there's some comedy stuff with a bomb. But whatever amusement you are going to find here will come from Swain's business, his expressions, but there's nothing in the material at all, nothing.
Swain is a king who wants a maiden to become his wife. The maiden's admiring fellah (who seems to be Robin Hood) comes along to rescue her. They had some costumes left over from another production you know, there's no other reason for any of this.
Really, really bad, but I feel it's going to haunt me like a dream.

Ambrose's Nasty Temper (Swain 1915)

Quite liking Mack Swain- he's an overgrown bear of a man, but also an ordinary joe wih a put-upon kind of face. Ultimately he's a grotesque and you can't quite understand how his career ever took off, while being quite pleased it did. No-one else in this quirky short is particularly distinguished, though I guess the harsh 'mother' fulflls her job description successfully.
Ambrose is fired from some sweatshop kind of place after flirting with the boss's daughter and becoming physically entangled with his disagreeable wife- outraged he hires a couple of first-rate toughs to get his revenge and wreak some vengeance. And here we're on dodgy ground- there's something seedy about this revenge episode, especially as it's the innocent daughter who ends up suggestively tied and mannacled and then left to drown. But this is a good mix of low farce and honest to goodness Perils of Pauline stuff as Ambrose rescue the pretty girl from drowning. Very enjoyable if low on humour.

When Ambrose Dared The Walrus (Mack Swain / Chester Conklin 1915)

I couldn't keep my eyes off the tight acrobat's costume Vivian Edwards was wearing- seriously, this is unexpectedly risqué, and is to be counted in the film's credit column.
Swain is Ambrose, a big man with a wee stuck-on moustache, Conklin is the Walrus, a skinny chap with a big stuck-on moustache. Such is my daisy-like freshness in this field, I don't think I've seen either of them before. Hopefully I'll look back on that statement with incredulity over the next few months as I discover the high and lows of their respective filmographies. Neither of them seem exactly hilarious individually, but together on screen they are watchable- the last few minutes of the film have a particular resonance as they engage in a bittersweet sort of fight, the Walrus' hotel burning down behind them.
The DVD I've got of this is very dark and the intertitles at times are unreadable- this doesn't help an already confusing film become more coherent. At no times is 'When Ambrose Dared The Walrus' a drag though- once the story settles down and you grab the gist of what's happening, the time passes quickly, and if there are no moments of outright hilarity here, there are eyecatching ideas. As it were.
The Walrus runs a hotel, Ambrose and his perky acrobatic assstant are paying guests. The narrative concerns a fire insurance on the property, and the last chunk of the film is taken up with the Walrus trying to make his last payment before the hotel burns down. They certainly did things differently back then, especially at Keystone- the pace is remarkable, bewilderingly so watching now when you're left floundering trying to work out who is who, and who the girls are, and what their relationships are etc. Best not to worry. It really doesn't drag at all, and I'd be happy to watch the two of them in another film. I get the feeling that the more you see of them, the more appealing they are going to be. Especially if Vivian Edwards is in there somewhere as well.