Film
Ben Turpin first appeared on film in 1907 for Essanay Studios in Chicago in various small parts and comic bits; in addition to his on-screen work, Turpin worked as a janitor for Essanay. In the 1909 film Mr. Flip, Turpin receives what is believed to have been the first pie-in-the-face. By 1912 he was an established if not major screen personality, giving interviews and writing articles for the new fan magazines (the first of which had started the year before).
Charlie Chaplin joined the Essanay company in 1915, and the studio made Turpin his second banana. Chaplin was maturing as a filmmaker, working slowly and intuitively. Turpin, however, was impatient with Chaplin's methods. The earthy Turpin understood straightforward slapstick more than comic subtlety. The Chaplin-Turpin duo didn't last long, with Chaplin abandoning Chicago for California. Turpin does share one additional credit with Chaplin: after Chaplin filmed Burlesque on Carmen in two reels, Essanay filmed new scenes with Ben Turpin to pad the picture into a featurette, doubling its length.
Essanay did not survive Chaplin's departure and remained solvent for only a few more years. Turpin may have been aware of Essanay's instability; he left Essanay for the Vogue comedy company, where he starred in a series of two-reel comedies. Former Essanay comedian Paddy McQuire supported him. Many of Turpin's Vogue comedies were re-released under different titles, to cash in on Turpin's subsequent stardom.
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Famous quotes containing the word film:
“You should look straight at a film; that’s the only way to see one. Film is not the art of scholars but of illiterates.”
—Werner Herzog (b. 1942)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)
“Film is more than the twentieth-century art. It’s another part of the twentieth-century mind. It’s the world seen from inside. We’ve come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film.... You have to ask yourself if there’s anything about us more important than the fact that we’re constantly on film, constantly watching ourselves.”
—Don Delillo (b. 1926)