Back Stage

Plot

Back Stage follows Roscoe and Buster as stagehands at a vaudeville theater who must contend with a bullying strongman who terrorizes the other performers. When the strongman causes chaos during a performance, Roscoe and Buster team up to give him his comeuppance through a series of comedic mishaps and physical gags. The situation escalates when the entire performance troupe quits in protest over the strongman's behavior, leaving the theater owner desperate. In a desperate attempt to save the show, Roscoe and Buster must perform all the acts themselves, leading to increasingly hilarious situations as they attempt to juggle multiple roles and keep the audience entertained despite their lack of professional training in most of the acts.

Historical Background

Back Stage was produced during the golden age of silent comedy shorts in 1919, a time when American cinema was transitioning from short films to feature-length productions. The film emerged just after World War I, when audiences were hungry for entertainment and escapism. Vaudeville, which had been the primary training ground for many comedians, was declining in popularity, making backstage comedies particularly resonant as they captured a disappearing art form. The film industry was consolidating during this period, with studios like Paramount establishing dominance in distribution. This was also the year before the scandal that would destroy Arbuckle's career, making Back Stage part of his peak creative period. The film reflects the transition from stage comedy to cinematic comedy, with both performers adapting their vaudeville skills to the new medium of film.

Making Of

The making of Back Stage represents a pivotal moment in comedy history, as it showcases the developing partnership between two legends of silent comedy. Arbuckle, already an established star, recognized Keaton's talent and actively mentored him, giving him creative freedom and prominent screen time. The backstage setting was inspired by both performers' vaudeville backgrounds, allowing them to incorporate real theater experiences into the comedy. The strongman character required extensive rehearsal for the physical comedy sequences, with both Arbuckle and Keaton performing their own stunts. The film was shot quickly even by 1919 standards, with the entire production completed in just three days. Keaton's father, who had managed his vaudeville career, visited the set and was reportedly impressed by Arbuckle's treatment of his son as an equal partner rather than just a supporting player.

Visual Style

The cinematography in Back Stage reflects the standard practices of 1919 silent comedy production, with the camera primarily positioned to capture the full range of physical action. The film makes effective use of deep space within the theater setting, allowing multiple comedic actions to occur simultaneously in different parts of the frame. The camera work is functional rather than artistic, designed primarily to clearly present the gags and physical comedy. However, there are moments of innovation, particularly in scenes where the camera follows the chaos as it moves through different areas of the theater. The use of actual theater locations provides authentic depth and texture to the visuals. The lighting is typical of the period, relying on natural light supplemented by studio lighting, creating the high-contrast look characteristic of films of this era.

Innovations

While Back Stage was not groundbreaking in technical terms, it demonstrates several important technical aspects of 1919 filmmaking. The film makes effective use of the limited space of the theater setting, employing clever blocking and choreography to maximize comedic potential. The physical comedy sequences required precise timing and coordination between the performers and camera, demonstrating the evolving sophistication of comedy filmmaking. The film's use of actual theater locations rather than studio sets provided greater authenticity and allowed for more complex staging. The editing, while simple by modern standards, effectively builds comic momentum through the careful pacing of gags and reactions. The film also showcases early examples of match-on-action editing in physical comedy sequences.

Music

As a silent film, Back Stage was originally presented with live musical accompaniment that varied by theater. Larger theaters would have used a full orchestra while smaller venues relied on a piano or theater organ. The score would have been compiled from standard photoplay music libraries, with selections matched to the on-screen action - upbeat music for comedic moments, tense music for confrontations with the strongman, and frantic music during the chaotic finale. No original score was composed specifically for the film. Modern screenings typically feature newly composed scores or period-appropriate music performed by silent film accompanists. Some contemporary releases feature scores by composers such as Robert Israel or Ben Model, who specialize in creating music for silent comedies.

Memorable Scenes

• The climactic sequence where Roscoe and Buster must perform all the acts themselves after the troupe quits, leading to frantic costume changes and chaotic attempts to juggle multiple roles simultaneously
• The confrontation with the bullying strongman where Arbuckle and Keaton use their wits and physical comedy to outsmart him
• The opening scenes establishing the backstage chaos and the working relationship between the two leads

What Critics Said

Contemporary critics praised Back Stage for its inventive gags and the effective pairing of Arbuckle and Keaton. Motion Picture News noted the 'excellent comedy situations' and highlighted the 'splendid work of both principals.' Variety appreciated the 'fresh approach to backstage comedy' and noted that Keaton was 'developing into a fine comedy partner for Arbuckle.' Modern critics view the film as an essential document of early comedy history, with many considering it among the best of the Arbuckle-Keaton collaborations. Film historians often cite it as a key example of how vaudeville traditions were adapted to cinema, and as evidence of Keaton's rapid development as a comic performer. The film is frequently included in retrospectives of silent comedy and is studied for its innovative use of physical comedy and spatial gags.

What Audiences Thought

Audiences in 1919 responded enthusiastically to Back Stage, with the film proving popular in theaters across the country. The pairing of the already beloved Arbuckle with the emerging Keaton created significant audience interest, and theater owners reported strong attendance for the short. The backstage setting resonated with audiences familiar with vaudeville, while the universal appeal of the underdog story (stagehands saving the show) connected with viewers. The physical comedy translated well across cultural and language barriers, contributing to its international success. Modern audiences who have seen the film through revival screenings and home video releases continue to appreciate its timeless humor and the visible chemistry between the two stars. The film remains a favorite among silent film enthusiasts and is often cited as an entry point for those discovering Arbuckle and Keaton's work.

You Might Also Like