Rips and Rushes

Plot

In this energetic one-reeler comedy set in a dance studio, three suitors compete fiercely for the affections of a young woman played by Alice Mann. The father's preferred suitor, portrayed by Jimmy Aubrey, faces competition from other beaus including Hughie Mack, leading to escalating physical comedy and chaos. The dance studio becomes a battleground of slapstick antics as the rivals attempt to outdo each other, resulting in numerous broken vases, torn clothing, and general mayhem. Alice Mann's character ultimately demonstrates her own agency by choosing her preferred suitor and making a dramatic escape through the window with him, leaving the chaos behind.

Historical Background

Rips and Rushes was produced during a pivotal year in both world history and cinema development. In 1917, the United States had recently entered World War I, and the film industry was adjusting to wartime conditions including potential material shortages and changing audience preferences for entertainment. The comedy genre flourished during this period as audiences sought relief from the stresses of war. The film industry itself was undergoing significant changes, with Hollywood establishing itself as the center of American film production and the studio system becoming more organized. Vitagraph, though still a major player, was facing increasing competition from newer West Coast studios. This period also saw the solidification of comedy as a dominant genre in American cinema, with Chaplin having achieved international stardom and other comedians like Larry Semon developing their own distinctive styles. The technical aspects of filmmaking were advancing rapidly, with more sophisticated camera movements and editing techniques becoming commonplace.

Making Of

The production of Rips and Rushes exemplified the factory-like efficiency of major studios during the silent era. At Vitagraph, Larry Semon had developed a reputation for creating comedies with a distinctive visual style characterized by rapid pacing and elaborate physical gags. The dance studio set was likely constructed on Vitagraph's Brooklyn lot, where the company maintained extensive facilities for indoor shooting. The casting of Jimmy Aubrey reflected the industry's practice of hiring comedians with Karno troupe experience, as they brought proven comedic techniques developed in British music hall tradition. Alice Mann's performance demonstrates how female comedians of the era often had to be both romantic leads and skilled physical comedians, capable of holding their own in chaotic slapstick sequences. The film's destruction of multiple vases and furniture pieces suggests Semon's commitment to visual spectacle and his understanding that audiences of the period appreciated the expense and effort involved in such destructive comedy.

Visual Style

The cinematography in Rips and Rushes reflects the standard practices of Vitagraph Studios in 1917, featuring relatively static camera positions with occasional movements to follow the action. The dance studio setting would have been lit to maximize visibility and highlight the physical comedy, with careful attention to ensuring that all gags were clearly visible to the audience. The film likely employed medium shots to capture full-body physical comedy, with closer shots used for facial expressions and reaction shots. The destruction of props like vases would have been carefully choreographed and filmed to maximize visual impact while ensuring the safety of the performers. The editing pace would have been relatively brisk for the period, reflecting Larry Semon's preference for energetic comedy rhythm. The black and white photography would have emphasized the contrast between the elegant dance studio setting and the chaotic destruction that occurs during the comedy sequences.

Innovations

Rips and Rushes employed standard technical practices for 1917 comedy production, with particular emphasis on the effective staging of physical comedy sequences. The film likely utilized multiple camera setups within the dance studio set to capture different angles of the action, allowing for more dynamic editing than earlier comedies. The destruction of props and clothing would have required careful preparation and timing, demonstrating the growing sophistication of special effects in comedy films. The film's pacing reflects the increasing use of rapid editing to enhance comedic rhythm, a technique that would become more prevalent throughout the 1920s. The coordination of multiple performers in chaotic scenes required advanced blocking and rehearsal techniques, showing the professionalization of comedy production methods. The film represents the state of comedy filmmaking techniques just before the major innovations of the early 1920s, serving as a bridge between simpler early comedies and more sophisticated later works.

Music

As a silent film, Rips and Rushes would have been accompanied by live musical performance during its original theatrical run. The typical accompaniment would have consisted of a pianist or small theater orchestra performing appropriate music to enhance the comedy and action. The dance studio setting would have suggested waltzes or other dance music for the opening scenes, with faster-paced, more comical music accompanying the physical comedy sequences. Popular songs of 1917 might have been incorporated into the score, and the musicians would have used sound effects like cymbal crashes for moments of impact during the destruction gags. The music would have been carefully synchronized with the action to maximize comedic effect, a practice that required skilled musicians who could improvise appropriately to the on-screen events. The score would have been designed to enhance the film's romantic elements during scenes involving Alice Mann and her suitors.

Memorable Scenes

• The chaotic sequence in the dance studio where multiple vases are broken during the suitors' competition
• Alice Mann's escape through the window with her chosen suitor while leaving chaos behind
• Jimmy Aubrey's Chaplin-esque physical comedy routines as the preferred suitor
• The escalating destruction of the elegant dance studio setting during the rivalry scenes

What Critics Said

Contemporary reviews of Rips and Rushes in trade publications like The Moving Picture World and Variety likely praised its energetic pace and effective comedy sequences, though specific reviews from 1917 are difficult to locate today. Critics of the period typically evaluated short comedies based on their entertainment value and technical execution rather than artistic merit. Modern film historians view Rips and Rushes as a representative example of Larry Semon's directorial style and the broader trends in American comedy of the late 1910s. The film is often noted for its efficient pacing and effective use of physical comedy, though it's generally considered less innovative than the work of major contemporaries like Chaplin or Harold Lloyd. Silent comedy specialists appreciate the film for what it reveals about the working methods of major studios and the development of comedy techniques that would influence later filmmakers.

What Audiences Thought

Audiences in 1917 likely responded positively to Rips and Rushes as part of the typical program of short films shown before feature presentations. The film's combination of romantic rivalry and physical destruction would have appealed to the broad audience preferences of the period. The sight gags involving broken vases and torn clothing were proven comedy elements that consistently drew laughs from contemporary viewers. Alice Mann's performance probably generated particular audience enthusiasm, as attractive and physically adept female comedians were popular attractions. The film's brief runtime and straightforward plot made it accessible to all audience segments, from working-class patrons to more sophisticated viewers. As part of Larry Semon's growing reputation, the film likely benefited from audience recognition of his distinctive comedic style, even though he didn't appear on screen himself.

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