Fatty and Minnie He-Haw
Plot
In this early Keystone comedy, Fatty (Roscoe Arbuckle) attempts to hitch a ride on a moving train but is discovered by railroad employees and unceremoniously thrown off in the middle of a vast, scorching desert. Exhausted and dehydrated from his trek through the barren landscape, Fatty eventually collapses from heat and fatigue. He is discovered by Minnie (Minnie Devereaux), a plump Native American woman who takes pity on him and carries him back to her tepee. Despite Fatty's reluctance, Minnie becomes infatuated with him and through persistent wooing, eventually convinces him to agree to marriage. As the Native American tribe prepares an elaborate wedding ceremony, Fatty sees his opportunity to escape but is quickly captured by the tribe members before he can get away.
About the Production
This was one of many short comedies Arbuckle made for Keystone Studios in 1914, during his peak period as one of silent comedy's biggest stars. The film utilized the California desert landscape near Keystone Studios, which was frequently used as a stand-in for various exotic locations. The production likely followed Keystone's typical fast-paced shooting schedule, with most one-reel comedies being filmed in just a few days. The Native American characters were portrayed by actors in costume, following the unfortunate practices of the era.
Historical Background
1914 was a pivotal year in cinema history, occurring just as the feature film was beginning to emerge as the dominant form of entertainment. The United States was enjoying a period of economic prosperity before World War I, and movie-going had become America's favorite pastime. The film industry was rapidly consolidating in Hollywood, with Keystone Studios leading the comedy field. Racial and ethnic humor was commonplace in popular entertainment, with stereotypes being used for comic effect without much consideration for their impact. The Western genre and Native American themes were extremely popular in American culture, reflecting the nation's ongoing fascination with its frontier past. This film emerged during the height of Arbuckle's popularity, before the scandal that would later destroy his career.
Why This Film Matters
While not considered a major work in Arbuckle's filmography, 'Fatty and Minnie He-Haw' is representative of the type of ethnic humor that was prevalent in early American cinema. The film demonstrates the early film industry's casual approach to racial stereotypes, which would later be criticized as insensitive and harmful. It's also an example of how Native Americans were portrayed in popular culture during the early 20th century. The film contributes to our understanding of Roscoe Arbuckle's development as a comedy star and the Keystone Studios' production methods. Like many films of its era, it serves as a historical document reflecting the social attitudes and entertainment values of 1914 America, even if those values are problematic by modern standards.
Making Of
The film was produced during Keystone Studios' golden age under Mack Sennett's leadership, where the studio was churning out dozens of comedy shorts each month. Roscoe Arbuckle was one of Keystone's biggest stars by 1914, commanding significant creative control over his films. The casting of Minnie Devereaux, a genuine Native American performer, was somewhat unusual for the period, though the role still relied on stereotypes and caricatures. The production would have been filmed on Keystone's sprawling outdoor sets and nearby desert locations, with the studio's famous 'anything for a laugh' approach to comedy. Arbuckle's physical comedy skills were the centerpiece of the film, with his large frame making both his collapse in the desert and his attempted escape visually comedic. The film was likely shot in just 2-3 days, following Keystone's rapid production schedule.
Visual Style
The cinematography was typical of Keystone Studios' work in 1914, utilizing stationary cameras with basic framing and medium shots. The desert scenes would have employed natural lighting to create the impression of extreme heat and vast, empty spaces. The camera work was functional rather than artistic, focusing on clearly capturing the physical comedy and action sequences. Interior scenes in the tepee would have been filmed on studio sets with basic lighting setups. The visual style emphasized clarity over creativity, ensuring that audiences could easily follow the simple plot and gags.
Innovations
The film employed no significant technical innovations, following the established practices of Keystone Studios in 1914. The production used standard 35mm film with the typical aspect ratio of the era. The desert scenes demonstrated Keystone's practice of utilizing nearby California locations to stand in for more exotic settings. The film's editing would have been straightforward, with basic continuity cutting to advance the simple narrative. Like most comedies of the period, it relied on visual gags and physical comedy rather than technical sophistication.
Music
As a silent film, 'Fatty and Minnie He-Haw' would have been accompanied by live musical performance during theatrical exhibition. The typical Keystone comedy was scored with popular songs of the era and classical pieces chosen to match the on-screen action. For the desert scenes, the theater pianist or organist might have played dramatic, sweeping music to emphasize the vast, empty landscape. The romantic scenes with Minnie would have been accompanied by sentimental popular songs of 1914. The chase and escape sequences would feature fast-paced, comical music. The specific musical selections would have varied by theater and musician.
Did You Know?
- Minnie Devereaux was actually of Native American descent (Cheyenne), one of the few authentic Native American performers in early Hollywood
- This film was released during Arbuckle's most prolific period at Keystone, where he made dozens of shorts in 1914 alone
- The title 'He-Haw' was a common slang term in the 1910s, often used in a derogatory manner to refer to rural or unsophisticated people
- Minta Durfee, who appears in the film, was Arbuckle's real-life wife at the time
- Like many Keystone films of this era, the original negative was likely destroyed in the 1930s when studios cleared their vaults
- The film represents the common early comedy trope of the 'fish out of water' scenario with an urban character in a rural/exotic setting
- Native American themes were popular in early cinema, often presented with little regard for cultural accuracy
- Arbuckle's character's reluctance to marry Minnie was played for laughs, reflecting comedic attitudes of the era
- The desert setting was a convenient location near Keystone Studios in Edendale, California
- This was one of several films Arbuckle made featuring Native American characters and themes
What Critics Said
Contemporary critical reception for short comedies like this was minimal, as trade publications focused more on feature films. The Moving Picture World and Variety occasionally mentioned Keystone comedies in passing, generally noting their popularity with audiences. Modern critics and film historians view the film primarily as a product of its time, acknowledging its entertainment value while criticizing its racial stereotypes. Film scholars often cite such works when discussing the evolution of American comedy and the problematic representation of minorities in early cinema. The film is generally not considered among Arbuckle's most significant works, but it's studied by silent film enthusiasts for its historical context.
What Audiences Thought
Like most Keystone comedies of 1914, 'Fatty and Minnie He-Haw' was likely well-received by contemporary audiences who enjoyed Arbuckle's physical comedy and the film's simple, straightforward humor. Moviegoers of the era were accustomed to the broad stereotypes and exaggerated characterizations that would be considered offensive today. The film's desert setting and Native American theme would have provided visual variety to audiences accustomed to urban comedies. Arbuckle's popularity ensured that any film bearing his name would draw crowds to nickelodeons and small theaters. The film's brief runtime and straightforward plot made it ideal for the varied programming of early movie theaters.
Film Connections
Influenced By
- Mack Sennett's Keystone comedy style
- Chaplin's tramp character
- Popular ethnic humor of the 1910s
- Western film conventions
- Vaudeville comedy traditions
This Film Influenced
- Later Arbuckle comedies with ethnic themes
- Keystone films with similar 'fish out of water' scenarios
- Early comedy shorts featuring reluctant marriages