HELP KEEP HORROR-COMEDY ALIVE - SUPPORT LEA HERNANDEZ' "THE GARLICKS!"

Hey Scared Silly fans - I have an extra-special request of you: if you love horror-comedies (and you wouldn't be here if you didn't), please consider supporting writer-cartoonist Lea Hernandez' Kickstarter fundraiser to help get her wonderful web-comic series, "The Garlicks" published as a graphic novel.

Hernandez is a veteran who has written, edited, lettered, and colored comics for the likes of Marvel, DC, Dark Horse, Oni, Disney & Image. She's also previously published five graphic novels, re-written and lettered several manga products and won a few awards. You can read more about Lea when you click here and here.

Now Lea brings the world The Garlicks, a fun and funny series for young adults and up that provides a new twist to vampire lore, presenting adolescent and teenage vampires in a whimsically inventive fashion.

Here is the description of the series from Lea's official site:

"The Garlicks is told from the point of view of Pandora, a vampire with zero vampire abilities and the big sister of baby Pamila (who’s usually called Ham), who seems to have gotten everything Pandora didn’t, like being able to shapeshift into an adorable flying fish and eat meat.

Pandora turns to her passion, making comics, and chooses her family as her muses: the exhausting Ham, her father Vourdain, (a flower-eating barista), her mother Olive (who is butcher), and their house/business, Orange Espresso and Meats."

Rounding out the cast are Maxim, a boy who can see monsters, and "three rock-stupid but very dangerous demon hunters."

So how can you help? Easy, just donate to the Kickstarter fundraiser - you can find out how by clicking here.

You can can donate any amount you'd like (although I'd recommend the $25 level - that gets you an autographed copy of the printed graphic novel plus your name published in the book's acknowledgments, among other nifty goodies.

Now enjoy this video that will tell you a little more about the project:

THE TRAUMA OF IT ALL!

Hello, Scared Silly fans! Just a quick note to inform you that Unkle Lancifer of the blog Kinder Trauma was kind enough to interview me for his ongoing segment, "It's a Horror to Know You." Just click here to read it.

You may be saying to yourself, "So what - you've read one Paul Castiglia interview, you've read them all!" Ah, but this one is different. I'm known for waxing rhapsodic over films from the 1920s through the 1960s, but in this interview, you'll get to hear me sing the praises of films from the 1970s, '80s and today as well!

One of the films I single out for special mention is that of my fellow Jerseyan and one of my favorite directors, certainly an influence on my sense of humor, the great Joe Dante and his underrated film, "The 'Burbs." I only just saw it for the first time recently.

Remember my essay, "The Old Dark Anachronism" where I theorized that it may be just about impossible to do a plausible "old dark house" film set in contemporary times without it feeling like a throwback? Well, turns out Dante pulled it off in 1989.

If all goes as planned, next up from me will be a review of a more traditional horror-comedy short from 1945 that may not break any new ground but manages to pull out all the stops due to its leads, Andy Clyde and our old friend Dudley Dickerson - look for a review of "Spook to Me" here soon.

...and right now, look for the trailer to Joe Dante's deserving-of-rediscovery horror-comedy, "The 'Burbs":

GHOSTS ON THE LOOSE (1943)

RATING: ** out of ****



PLOT: Mugs (Leo Gorcey) and the gang are excited to help Glimpy (Huntz Hall) prepare for his sister Betty’s (Ava Gardner) wedding. They form a chorus to sing at the ceremony, give Glimpy instructions on his duties as “best man,” and volunteer to tidy up the country house that the newlyweds plan to call home. Except… this being the East Side Kids… they “tidy” up the wrong house! A house that just happens to be headquarters to Bela Lugosi and his nest of Nazi spies! Before the gang discovers this, they encounter some spooky scares that have them believing the rumors that the house is haunted. Can the East Side Kids prevail against the enemy agents without scaring themselves silly in the process?!

REVIEW: This film marks a bit of a transition. It is the third East Side Kids film (after “Boys of the City” and “Spooks Run Wild”) in the “horror-comedy” genre and technically the last. I qualify it with the word “technically” because this particular film is the biggest departure yet from the East Sde Kids/Little Tough Guys formula and anticipates the tone that would permeate the majority of films in the follow-up Bowery Boys series to come. The focus is squarely on comedy in “Ghosts on the Loose.” The “Kids” are more of a group of friends who hang around with each other and share misadventures as opposed to being considered “juvenile delinquents” (something that actually sets the plot of “Spooks Run Wild” into motion – not that that the Kids don’t pull off some dubious and downright unlawful shenanigans in this film). There may still be some gangsters afoot for the boys to foil but they’re less directly involved with shady types (many of the earlier entries had healthy doses of drama where one or some of the kids could get entrenched with the wrong crowd – a typical plot being becoming a boxer for the mob).

The film just escapes “horror-onable mention” status, primarily on the strength of Bela Lugosi once again co-starring with the boys. There isn’t much time spent in the “haunted house,” and the moments that do exist are a bit underwhelming but the actors playing the East Side Kids display so much energy and comic invention that the scenes play better than they must have read on paper. Again, this is the team in transition, really going after the laughs with gusto and developing a flair for comedy that would come to full fruition in the ensuing “Bowery Boys” series.

The plot is a bit convoluted and not worth much more than a passing mention. As a result this will be one of the shorter “Scared Silly” reviews, as I concentrate more on the scares and ensuing comedy. As it stands, here are the basics: Young lovers Betty and Jack get married. Bride’s brother Glimpy and his pals (the “East Side Kids”) decide to spruce up their new digs. Through a comedy of errors, the group starts tidying up the wrong house. The Elwoods, former owners of the house warn the newlyweds that there are strange happenings at the house next door and they call the police. While the East Side Kids are “tidying” they encounter all manner of spooky incidents common to “old dark house” thrillers. Undaunted, they soldier forth discovering hidden passageways, and worse, a printing press used to print Nazi propaganda! Assuming the press belongs to the previous owners but worried that Glimpy’s sister’s husband will be held accountable, the boys move the press to the alternate house (which is the real house). This leads to a series of further misunderstandings with the printing press being moved back and forth between houses more than indiscreet lovers being moved between bedrooms in a standard screwball comedy farce. Confused yet? As I mentioned at the beginning of this paragraph, the plot really doesn’t matter much. Consider the mention to have passed!

Now onto the comedy and scares.

The film treats us to an early example of what would become a trademark for Leo Gorcey in his later Bowery Boys incarnation as Slip Mahoney: malapropisms. It kicks right in as the picture opens with the East Side Kids warbling “Drink to Me Only With Thine Eyes.” The gang are rehearsing so they can perform the song at Glimpy’s sister’s wedding. Mugs is not impressed by the off-key cutups, and goes down the line criticizing them with such gems as “you’re dimming a little on your diminuendo,” “your moderato obligato was just a little bit staccato” and “it’s a little bit on the stinkato side.”

Gorcey’s Mugs character peppers the film throughout with similar malapropisms and together with Huntz Hall displays a unique (mis)understanding of life, such as when the duo discuss that the suburbs are a place filled with poor people and no running water.

The opening scene also establishes the hierarchy that would become standard in the later pictures: Leo Gorcey’s character is clearly the leader with Huntz Hall a close second-in-command. The other kids don’t have as much of a pecking order in this but just like in the previous East Side Kids/Bowery Boys outing, “Sunshine” Sammy Morrison as Scruno probably gets the next best showcase, no doubt due to his facility with scare takes (including a great “going stiff” take – when Scruno is certain a painting has come to life he straightens up and and falls back onto couch).



The “Kids” are real loose here, ad-libbing all over the place and having a ball. The script allows them to stretch and when it does give them business, it’s true to their characters as good-natured hooligans. A good example is when they rig a string to the back of the flower truck so that a festive wreath will just “accidentally” fall out. Another example has them borrowing a corpse’s suit from the undertaker for Glimpy to wear at the wedding! These gags are reminiscent of the early comic book adventures of Archie Andrews, Jughead Jones and their friends. When I was editing the “Archie Americana Series” of trade paperbacks collecting vintage Archie stories, gags like Jughead getting poison ivy-laced flowers from the cemetery for Archie to use as corsages at the prom were standard fare (In fact only a year separates the above-mentioned scene from ARCHIE COMICS #1 and this movie’s release).

Bela Lugosi is back for his second and final outing with the Kids, and sad to say, it’s a wasted opportunity. At least in “Spooks Run Wild,” even though he was a red herring Bela got to play a mysterious magician whose ability to scare the Kids was understandable. Here, as the Nazi leader he’s not much more than an Eastern European hood, He looks disconcerted and sneers a lot, taking every chance he can to belittle and berate his henchman. This is either a plus or minus depending upon the individual viewer. I admit that for me it’s always fun to hear Lugosi spit out lines like, “Idiots! Imbeciles, all of you!,” ”Some more of your bungling you stupid fool!” and “Why do I keep such idiots around me?!” Still, I’d trade the spine-tingling boogeyman version of Bela any day over the insult-hurling gangster. It’s not a total loss; Lugosi does get a couple moments in which to “scare,” including a rather infamous slip of the tongue that somehow slipped by the censors (more on that to come).

Speaking of spine-tingling, while it takes its time getting there the film does ultimately deliver some scare comedy. The scares are mild at best but the freewheeling Kids tackle the scenes with enough energy and playfulness to put them over.

Some of the typical horror-comedy trappings to be found in “Ghosts on the Loose”:.

• When the gang arrive at the property (or what they think is the property), it’s the dead of night with dark shadows everywhere, evocative of a graveyard. This foreboding feeling continues inside the house, until they flip the light switch.
• The picture inside the frame rotates out so a real person can peer through. The bad guys use this to scare and confuse the Kids (one moment it’s the real painting; the next moment it’s a real person). It’s the type of gag that only really works in black & white.
• The first one to spot the gang is Minerva Urecal – not only is she a mainstay of horror and horror-comedy films, but she enters the room through a revolving bookcase façade – another horror-comedy staple!
• Disembodied voices emenate from a hidden loudspeaker, laughing, making comments and echoing the boys’ dialogue like parrots.

As mentioned above, a comedy of errors and misunderstandings ensues revolving around the printing press. Ultimately the Kids and the newlyweds compare notes and call the cops. Of course when the cops arrive, the printing press is gone, spirited away by the Nazis. This happens several times and in the process of the Nazi gang trying to cover their tracks, Mugs and Glimpy are captured. Luckily their loyal friends rescue them and Bela and his band of baddies are carted away.

None of the plots, subplots, scares, gags or jokes ever gels into a satisfying whole, however, there are also a few oddball elements that make “Ghosts on the Loose” a curio (beyond the fact that it is the last film Lugosi did for Monogram and his second and final teaming with the East Side Kids):

• Beautiful starlet Ava Gardner, on loan from MGM makes an early appearance here in the incongruously unbelievable role of goofy Huntz Hall's sister!!!
• When the Kids fib to get a police escort for their betrothed friends, Glimpy refers to a fictional gang as “the Katzman mob” – a reference to the film’s producer, Sam Katzman.
• Two notorious moments involve the “s-word” curse, which somehow slipped past the censors. First, when Scruno sticks a feather duster into Lugosi’s nose (Lugosi is spying on the Kids from a picture frame), Lugosi sneezes, but the conventional “Ah-choo” is clearly an “Ah, sh$#!” Later, Glimpy tells one of the other Kids to “Sh$# your mouth!”
• Even more infamous is the film’s closing gag: after the Nazis are hauled away, it’s revealed that everyone must be quarantined for catching German measles, represented by swastikas all over the actor’s faces. Clearly this was before the full scope of war crime atrocities committed by the Nazis was revealed. It is hard for some modern audiences to take with the hindsight of history, but for contemporary World War 2 audiences not yet aware of the horrors of the Nazis, it was just another way to get them rallied toward a common goal.



For all of the Kids’ efforts and goodwill, “Ghosts on the Loose” simply can’t match their previous Bela horror-comedy, “Spooks Run Wild.” This is due more to the topical wartime script and uninteresting supporting characters though. When the Kids are let loose with the familiar scare gags, they make it all work. More importantly, we can clearly see the seeds planted here that would lead to such Bowery Boys horror-comedy classics to come as "Spook Busters," "Master Minds" and "The Bowery Boys Meet the Monsters."

SPOTTED IN THE CAST: Our old friend Snub Pollard, the classic silent comedian last seen here in my review of “Grab the Ghost,” makes a brief, silent cameo here as the flower truck driver. Unfortunately it’s just a basic role – Snub is given no funny business to do by the script nor does he invent any.

Also in the film is Blache Payson as Mrs. Elwood. Payson has the distinction of being New York City’s first-ever police woman! As if that weren’t enough, she also appeared alongside some of movie comedy’s greatest names including Laurel & Hardy, Harry Langdon, the Three Stooges, Buster Keaton, the Little Rascals, Abbott & Costello and Olsen & Johnson.

BEST VISUAL GAGS:

Glimpy’s suit collar doesn’t fit and the gang’s attempts to loosen it only end up tightening it!

Glimpy gets so scared he jumps far into the air so he can cower in-between antlers atop a stuffed moose’s head!

BEST DIALOGUE:

The afore-mentioned malapropisms from Gorcey’s Mugs character, sprinkled liberally throughout the film constitute the majority of good dialogue. Still, there are a few other choice exchanges:

MUGS: Why don’t you use some diplomacy?
GLIMPY: I got my diploma when I graduated from school.
MUGS: When’d you graduate – kindergarten?
GLIMPY: Nah, I skipped kindergarten – I was too old!

MUGS: Glimpy, you can sweep!
GLIMPY: Thanks, chief (runs to the couch and pulls up the covers).
MUGS: What are you doing?
GLIMPY: You told me I could sleep!
MUGS: Not sleep… SWEEP! Now get up and go to work!
GLIMPY: What’re you gonna’ do?
MUGS: I gotta’ think – I’m the supervisor!

MUGS: I’m gonna’ send you to an optimist to get those eyes examined!

MUGS: You’re imagining things – it’s all in your mind!
BELA (disembodied, creepy off-camera laughter): Ha ha ha ha ha ha!
SCRUNO: Now who’s mind is that in?!

MUGS: There’s nothing to be scared of!
BELA (disembodied voice): That’s what you think!

BUY THE FILM: “Ghsots on the Loose” is in the public domain, and as such can be found as a free streaming video on several websites, a video download and as a DVD from several manufacturers. You can order a DVD that presents the film as a double-feature with the other East Side Kids/Bela Lugosi team-up "Spooks Run Wild" here:



FURTHER READING: There are several books out relating to the East Side Kids/Bowery Boys troupe. The one that focuses specifically on the movies is “The Films of the Bowery Boys” by David Hayes and Brent Walker. It is out-of-print but you can find it from second-hand booksellers. The authors also have a site that acts as an addendum to the original publication, which you can access by clicking here.

Two more recent books that I haven't read yet but that come highly recommended are "From Broadway to the Bowery: A History and Filmography of the Dead End Kids, Little Tough Guys, East Side Kids and Bowery Boys Films" by Leonard Getz and "Hollywood’s Made-to-Order Punks: The Dead End Kids, Little Tough Guys, East Side Kids and the Bowery Boys" by Richard Roat.

Another great book is “Poverty Row Horrors” by film historian Tom Weaver. Also out-of-print, it is an in-depth evaluation of the major horror-themed releases from Monogram, PRC and Republic from 1940 through 1946. As such, it features reviews of several horror-comedies, including three from the East Side Kids. Weaver is no fan of horror-comedies, but the book is essential for the great background information he offers as well as first-hand interviews. Not to mention the fact that it features reviews of ten Bela Lugosi films!

WATCH THE FILM: …or at least parts of it by enjoying the trailer right here:

SHORT OF BREADTH...

Greetings Scared Silly fans! I find myself in a busy season once more. Hoping to maintain my one-to-two reviews per month but don't want to leave you hanging in-between.

I came across the following 1931 two-reel short that is in the public domain. I thought I'd share with you all. It's called "Ghost Parade."

Directed by legendary silent comedy film director Mack Sennett, this is an early talkie starring Andy Clyde and Harry Gribbon.

Strange and spooky things are happening at Mosby Mansion - could it be a Civil War ghost haunting the place? Watch and find out for yourself (and stay tuned because I'm bound to review this short one of these days)!

KIDS COMIC CON, FREE COMIC BOOK DAY AND THE AVENGERS MOVIE MAKE FOR A MONSTROUSLY FUN WEEKEND!

The weekend is here and It’s a doozy for fans of fantasy, sci-fi, horror and even horror-comedy!

Start with the 6th annual Kids Comic Con being held Saturday May 5 from 10 am until 6 pm at the Church of the Mediator, 260 West 231st Street in the Bronx at Kingsbridge Road in New York City. Co-founded by my good friend Alex Simmons along with Eugene Adams, the show caters to kids, with material suitable for all ages. You can learn more by visiting the conventions official site (just click here) and you can also read an interview with Alex concerning this year’s event and its new venue when you click here.

The Kids Comic Con is an amazing event. I’ve had the privilege to attend the show several times in recent years, both as a guest as well as a volunteer helping to run the event. The amount of comics (and their creators!) on display runs the gamut, and among the usual assortment of superheroes and goofy teenage protagonists there are always some kid-friendly comics the rib the horror genre with whimsy and joviality.

Also this Saturday, the eleventh annual Free Comic Book Day (FCBD) event will be held in comic shops across the country. In the past ten years, scores of free comic books were given away by participating retailers to not only thank comic book aficionados, but to introduce the wonderful world of comics to new readers and fans as well! You can learn more about the event at the official FCBD site by clicking here.

Among the comics being given out this year are few that should appeal to “Scared Silly” fans. These include “Rockhead & Zinc Alloy,” “Finding Gossamyr: Stuff of Legend,” “Zombie Kid” and even a “My Favorite Martian” special! You can learn more about the featured comics by clicking here.

Free Comic Book Day was started by my friend Joe Field of Flying Colors Comics of Concorde, CA – you can read an interview with Joe about this year’s event by clicking here.

Last but not least, this weekend sees the release of the live-action “Avengers” movie, based on the popular Marvel Comics super-team of heroes. I know, it’s not a “horror-comedy” but it does contain ample doses of humor, a monster (the Hulk) and some aliens wrecking havoc.

Since we’re all about “the classics” here, I’ll leave you with a clever “pre-make” that has been making the rounds – a “trailer” for an “Avengers” film if it had been made in 1952! You’ll spot some footage from vintage serials, sci-fi flicks, TV shows and more in this fun-filled lark. Watch now… and enjoy this monstrously fun weekend!

GRAB THE GHOST (1920)

RATING: ½ out of ****

PLOT: A jealous ex-suitor, scorned over losing the girl (Marie Mosquini) to Snub Pollard, fills the groom’s head with stories about how the house the couple has purchased is haunted. He also fills the mansion with all manner of trickery to back up his claim, including a parrot to provide disembodied voices, a cat to get stuck on fly paper and make weird noises, and a disguise sure to terrify anyone. Not that Snub needs any help – his own scaredy-cat imagination fills in plenty of the blanks for him!

REVIEW: Snub Pollard is one of those silent comedians who toiled for so long and appeared in so many films of varying quality that just by longevity he’s bound to be recognized by those that may not know him by name. His visual notoriety was helped along by the fact that he continued to be employed in talkies (particularly when “an old silent clown type” was needed as he was utilized in “Singing in the Rain,” “Limelight” and “The Errand Boy;” he also turns up unexpectedly in such classics as “Miracle on 34h Street” and “The Day the Earth Stood Still”) and appeared in scores of TV shows (including such popular westerns as “Gunsmoke” and “Bonanza”) but his biggest claim to fame is surely his classic short, “It’s a Gift” (1923), not to be confused with the classic W.C. Fields feature film of the same title).

In that short, Snub plays an eccentric inventor of crazy gadgets. The two main set-pieces of the film are Snub starting his day in his bedroom full of Rube Goldberg-esue pull-string conveniences (when he pulls strings chickens lay eggs that are deposited into frying pans, the bed sheets fly off the mattress to become window drapes, the bed becomes a bookcase) followed by Snub setting out on the road in his special magnet car (the bullet-shaped canoe-like car moves whenever Snub holds a giant horseshoe magnet in the air, being pulled along by the magnetic attraction of passing vehicles).

Snub’s magnet car scenes have taken their place alongside Harold Lloyd dangling from the giant clock in “Safety Last” and Charlie Chaplin stuck in the giant machine gears in “Modern Times” as an iconic image that speaks to the age of innovation and industrialization.

The last scene, involving a fuel that proves to be just too explosive doesn’t match what came before but is rescued by a shot of Snub pushing a button in his car to reveal wings, allowing him to safely fly away from the angry mob.

Unfortunately, nothing can help Snub fly safely away from the angry viewers of “Grab the Ghost.” To be fair, Snub is in there pitching but the material is just so ill-conceived and nonsensical (and not in the fun way that such scenes often play in horror-comedies) that the audience is left scratching their heads at what they’ve just seen. And thankful that it was only one reel (nine minutes)!

The opening scene of “Grab the Ghost” is reminiscent of many Keaton, Lloyd and Charley Chase silents. We get a post-wedding scene (participants filing out of church) with a spurned groom (although usually with the other comics they’re the ones that are spurned until the final reel, when they reveal their rivals to be heels and themselves as virtuous). The disgruntled “ex” vows to a friend that he’ll “get even” with Snub. When Snub misses the wedding limo and chases after it, bumbling and tumbling all the way its definite shades of Keaton and Lloyd.

Snub had all the tools of the great silent clowns. For starters, he had a “signature look.” Snub’s look was defined by his walrus mustache. He also had a very expressive face – he did a lot with his eyes, his cheeks, his nose and his mouth. Last but not least, he was adept at acrobatics – he could flip and flail with the best of them.

This is particularly noticeable when Snub arrives home. When the servant boy lobs a shoe at Snub’s head, his reaction – facial expression and body language – are so animated and fluid they suggest a cartoon character. The effect is complete when Snub takes the shoe, winds up in exaggerated fashion and sends it back to the boy (for his part, the boy does a wonderful delayed fall after getting hit, then quickly gets back up).

In fact, if not for Snub and his master clowning, this short would receive no stars at all from me. All the stars (well, half a star) go to Snub. I wish I could even bump it up from a half to a full star but unfortunately the slipshod story and direction nearly dismantle Snub’s hard work entirely.

As this is a one-reeler running just nine minutes it’s not long before the “scare” material is introduced. Unfortunately, it’s weak material indeed. The rival has enlisted some folks to help scare the pants off of Snub. Snub and his bride have moved into a house that his rival claims is “haunted” – “there’s a ghost in every room and six spooks camping out on the roof,” he warns.

The rival spins a tale of a man who murdered his wife, which Snub vividly imagines. Meanwhile, a parrot beneath the table is screaming out words to underscore the terror of the story. Snub does a great extended scare take with his hat wobbling everywhere… but as great as it is its pretty much as good as this short ever gets – there’s nothing much left to build on after the short reaches this early peak. Sure, Snub goes to town – his hands go aflutter, his ears wiggle, his eyes bug out, his hat wavers and wobbles atop his head, he shakes and he shivers and he is very funny doing it all but it’s all in the service of scares that aren’t really all that scary… especially compared to other silent horror-comedies of the decade from Buster Keaton, Harold Lloyd, Our Gang and Laurel & Hardy. All the more puzzling because “Grab the Ghost” was produced by Hal Roach Studios, who brought us those Our Gang, Lloyd and Laurel & Hardy shorts!

The problem with the film is the same one that fellow silent clown Harry Langdon faced in his talkie short with Una Merkel, “To Heir is Human.” In short, it tries to go for non-typical scares. Whether this was a case of trying to be “novel” or just due to budget constraints we don’t know, but most of us come looking not only for the familiar tropes and trappings we’ve come to expect in a horror comedy, but that they be recognizable as such, too.

A great case in point is an old bearded man character that walks into scenes as if he’s a somnambulist. He’s weird to be sure but the effect on screen is underwhelming – the character is not all that scary as he just looks like a man. Other lackluster fright attempts include a sheet that falls on a mannequin – it’s meant to suggest a ghost and that’s how Snub takes it but the sheet falls over the statue’s head with the bronze arm sticking out so it just looks like a statue wearing a toga instead of a ghost! When the scares aren’t underwhelming they’re inexplicable: hearing a commotion outside the bedroom, Snub’s wife throws a sheet over her head in an attempt to hide (of course Snub walks in and thinks she’s a ghost). This gag would work with a well-established character like Stan Laurel who’s prone to do absurdist things, but why would Snub’s wife ever think she can “hide” under a sheet?

There are additional scenes of the black servants being scared. They’re apropos to nothing really – maybe the rival thought that if he could scare the servants in the process of scaring Snub the fear of the servants would help sell the ruse even more. The scenes simply aren’t either scary or funny though; just flat and uninteresting at best and uncomfortable from a stereotype standpoint at worst.

Nothing of any real consequence happens in this short when suddenly the final moments are taken up by a gaggle of Keystone-esque cops that rush into the house, up the stairs, into the bedroom, back down the stairs and back up the stairs. Repeatedly. Especially after Snub gets stuck under a sheet (now everyone thinks he’s a ghost).

It all grinds to a stultifying halt as the rival arrives to “save the day” only to have the fake beard and wig from his somnambulist get-up fall out of his vest, the cops already conveniently there to take him away.

The idea of only seeing ghosts while under the influence is posed twice by the short. In an earlier scene, Snub’s wife makes a crack about there being less ghost sightings since prohibition. This idea is repeated by Snub’s wife in the short’s finale, as she asks him, “What’s the idea – have you been smoking cubebs again?”

I don’t know about Snub, but maybe the writers of this short were!

SPOTTED IN THE CAST: Maybe some astute readers out there who have seen the film can clue me in on any notable supporting players because only Snub and his bride are credited.

BEST GAGS: It’s redundant to say so but Snub is the whole show here. Truthfully there are no real gags of note here, just Snub’s expert clowning as he reacts to all the non-scares.

Despite the above, it is worth pointing out probably the one notable aspect of the short: when the parrot under the table yells “HELP!” and “MURDER!” and “POLICE!” we see the words share the screen with the parrot (not as separate title cards) as if they are captions in a comic book. Not a gag per se but easily the most unique element in this short.

BEST "DIALOGUE": One title card stands out, and the line is spoken by Snub’s wife: “I was foolish to be scared. Nobody sees ghosts – not since prohibition.”

FURTHER READING: The seminal work on silent film comedy is Walter Kerr’s “The Silent Clowns.” Every film fan’s library should have it. Currently out-of-print and commanding collectible prices in pristine condition, you can find some lower-priced used copies when you click here.

BUY THE FILM: If you insist. Alpha Video, purveyors of public domain films have released a DVD called “Silent Slapstick Comedy Parade” featuring Snub’s “Grab the Ghost” along with entries from Ben Turpin, Paul Parrot and others, that you can purchase when you click here.

WATCH THE FILM: … or don’t! I couldn’t find a clip of this film online but in retrospect it’s just as well. I encourage you to search for (and enjoy) Snub’s masterpiece, “It’s a Gift” instead.

...AND NOW A WORD FROM OUR MONSTERS...

Greetings Scared Silly fans! Hard at work on my next review, of the silent Snub Pollard short "Grab the Ghost." Hope to have it posted before the end of the month. In the meantime, enjoy this brief commercial break starring everyone's favorite man-made monster: