Call of the Cuckoo

Plot

Max Davidson plays Abe Shrimplinsky, a Jewish immigrant who has finally saved enough money to buy his dream house for his family. The celebration turns to horror when he discovers his new home is located directly next to an insane asylum, where patients constantly escape and create chaos. Throughout the day, Abe must deal with escaped lunatics invading his home, destroying his new furniture, and terrorizing his family during their housewarming party. The film culminates in a frantic climax where Abe must defend his home and family from a full-scale asylum break-out, leading to increasingly absurd and comedic situations.

Historical Background

1927 was a pivotal year in cinema history, representing the peak of the silent era just before the transition to sound. The film industry was experiencing enormous creative output, with comedy shorts being particularly popular with audiences. Hal Roach Studios was at the height of its powers, producing successful comedy series featuring stars like Harold Lloyd, Laurel & Hardy, and character actors like Max Davidson. This period also saw increasing sophistication in film comedy, with more elaborate production values and complex gag structures. The year 1927 would see the release of The Jazz Singer in October, forever changing the industry and making films like Call of the Cuckoo representative of the final flowering of pure silent comedy.

Making Of

Director Clyde Bruckman was a highly respected comedy director who had worked with Buster Keaton and Harold Lloyd before joining Hal Roach Studios. Bruckman was known for his meticulous planning of gags and his ability to extract maximum comedic value from simple situations. The production utilized many of Roach's stock company actors, including Spec O'Donnell, who frequently played juvenile roles in the studio's comedies. The asylum setting allowed for creative freedom in staging increasingly absurd situations, with escaped patients providing a constant stream of comic interruptions. The film was shot quickly, as was typical for short comedies of the era, with most scenes completed in one or two takes to maintain freshness and spontaneity in the performances.

Visual Style

The cinematography by Art Lloyd (no relation to Harold) utilized the standard techniques of silent comedy, including wide shots to capture physical gags and medium shots for character reactions. The camera work was functional rather than artistic, prioritizing clarity of action over visual style. The film made effective use of the limited sets, particularly the house and asylum grounds, creating visual contrasts between domestic order and asylum chaos. Lighting was typical of studio productions of the era, bright and even to ensure visibility of the performers' expressions and movements. The cinematography supported the comedy by maintaining clear sightlines for gags and allowing audiences to follow the increasingly complex physical comedy sequences.

Innovations

While not technically innovative, the film demonstrated the sophisticated gag construction that had become standard in late silent comedies. The production made effective use of editing rhythm to build comedic momentum, particularly in sequences involving multiple characters and simultaneous action. The film showcased the advanced state of studio comedy production by 1927, with well-designed sets that could accommodate complex physical comedy. The asylum setting allowed for creative use of props and set pieces to generate laughs, demonstrating how comedy filmmakers had learned to maximize production value within the constraints of short-form storytelling.

Music

As a silent film, Call of the Cuckoo would have been accompanied by live music during its original theatrical run. The typical accompaniment would have included a theater organist or small orchestra playing popular songs of the era, classical pieces, and specially composed mood music. The asylum scenes would likely have been accompanied by quirky or mysterious music to enhance the comedic effect, while domestic scenes would have featured lighter, more romantic themes. No original score was composed specifically for the film, as was common for short comedies of the period. Modern screenings often feature newly composed scores or period-appropriate compiled music.

Memorable Scenes

• The chaotic housewarming party where escaped asylum patients repeatedly invade and disrupt the celebration, with Abe desperately trying to maintain order while his guests flee in terror. The scene escalates as more patients arrive, each bringing their own brand of madness to the domestic setting, culminating in a frantic chase through the house and yard.

What Critics Said

Contemporary reviews praised the film for its energetic pacing and Davidson's comedic performance, with Variety noting the film's 'laugh-provoking situations' and effective use of the asylum premise. Modern critics and film historians view the film as a solid example of late silent-era comedy shorts, appreciating its efficient gag construction and Davidson's expressive performance. While not as celebrated as the work of Chaplin, Keaton, or Lloyd, the film is recognized as an important part of Max Davidson's body of work and the Hal Roach comedy output. The film is often cited in discussions of ethnic representation in early Hollywood cinema, providing insight into how different cultures were portrayed for mainstream audiences.

What Audiences Thought

The film was well-received by contemporary audiences, who enjoyed Davidson's relatable everyman character and the increasingly absurd situations he encountered. Moviegoers of the era appreciated the film's fast pace and constant stream of visual gags, which were hallmarks of successful comedy shorts. The asylum setting provided a familiar comedy premise that audiences immediately understood and enjoyed. While not as memorable as the era's biggest comedy hits, the film satisfied audiences looking for light entertainment during their theater visits. Modern audiences who discover the film through revival screenings or home video often find it fascinating as a time capsule of 1920s comedy sensibilities and cultural attitudes.

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