The negative review of this little seen movie must come from somebody who is a huge Virginia Rappe fan. Leap Year is by no stretch a comic masterpiece but it has it's share of belly laughs. I didn't find that there was much jumping up and down and grimacing in front of the camera in this picture. Arbuckle is a very agile man who could pull off some nice stunts with the best of 'em. The compromising situations Arbuckle's character finds himself in is what sets the tone for the hilarity that ensues in Leap Year. Aside from this movie being shown in 1921 it hadn't been shown until some 60 years later. The picture has a beautiful tint to it and is recommended to fans of silent comedy.
11 Reviews
60 Years To Be Shown
bkoganbing21 July 2008
Though this film is not his best work, still it's a shame that the scandal around Roscoe Arbuckle prevented Leap Year from being shown in America. It occurs to me that if this had been given a theatrical release it would have been eligible for an Oscar in the early Eighties.
I don't think it's that good, but I am reminded so much of Jackie Gleason when I watch Fatty Arbuckle. In this one Arbuckle is a silent version of Gleason's famous playboy Reggie Van Gleason. He's the nephew and heir of eccentric Lucien Littlefield and Arbuckle just seems to get tangled up with women just trying to be helpful.
One who he's not trying to be helpful to is Winnifred Greenwood who's the hatchet faced wife of cheating Clarence Geldart. She's almost as funny as poor Fatty.
Leap Year is worth taking that extra day and checking out the art of Roscoe Arbuckle.
I don't think it's that good, but I am reminded so much of Jackie Gleason when I watch Fatty Arbuckle. In this one Arbuckle is a silent version of Gleason's famous playboy Reggie Van Gleason. He's the nephew and heir of eccentric Lucien Littlefield and Arbuckle just seems to get tangled up with women just trying to be helpful.
One who he's not trying to be helpful to is Winnifred Greenwood who's the hatchet faced wife of cheating Clarence Geldart. She's almost as funny as poor Fatty.
Leap Year is worth taking that extra day and checking out the art of Roscoe Arbuckle.
Arbuckle's Unreleased Film So-So
CitizenCaine21 July 2008
Warning: Spoilers
When the Fatty Arbuckle scandal broke, this film was in the can, and the big-wigs decided against releasing it in the United States. Sixty years later, it was finally released. This film is a bit different from Fatty's earlier slapstick comedies; in that, he was trying to focus more on plot than slapstick in this feature length production. Fatty has a rich uncle who is a misogynist, and he gets caught up with giving several women the wrong impression about marriage. There are several funny moments in the film, but Arbuckle was known primarily for his shorter films at the time. This film was a departure, and perhaps he would have improved his features, but being black-listed did not help his career. The pacing of the film improves toward the last third of the film, when Fatty has to start juggling all of his female visitors and play ill. ** of 4 stars.
Enjoyable Comedy, & Something Of A Change-Of-Pace From Arbuckle
Snow Leopard6 December 2005
In itself, this is an enjoyable light comedy with a lot of energy. It also represented something of a change of pace from Roscoe Arbuckle, both in attempting to expand his style of comedy into a full-length feature, and in emphasizing comedy ideas involving relationships and situations over and above pure slapstick. It's quite unfortunate that his career was ruined even before this could be released, and in particular this shows the kinds of possibilities that could have been in his future.
The story premise is not a lot different in style from the setup to many of Arbuckle's one- and two-reel features, just a little more complex. Arbuckle plays nephew to Lucien Litttlefield's grouchy uncle character, and Arbuckle's character is involved in all kinds of romantic difficulties; he's unable to work things out with the woman he really loves, and he's pursued by a number of others whom he doesn't love. All of these entanglements are set up in a light, fluffy way, and this part makes for pleasant comedy in itself.
In a shorter movie, the setup would most likely have been followed by a lot of slapstick and then a quick resolution, and indeed Roscoe and the cast could have done this without difficulty, since Arbuckle was an expert in working with that kind of format. But here, the story takes it in a more complicated and interesting direction, with the main character's predicament getting more complicated all the time, even as he resorts to various ruses. The last portion features a pleasantly manic unraveling of the tangled web that has developed, and it includes some witty ideas along with the slapstick.
This may not seem all that impressive now, because in the mid- to late 1920s the other silent comedy greats learned to master the full-length format, leading to many movies that are still among the all-time best comedies. Given the chance, Arbuckle could well have created his own comic gems over time. "Leap Year" is only good, not great, but it would have been a solid first step.
The story premise is not a lot different in style from the setup to many of Arbuckle's one- and two-reel features, just a little more complex. Arbuckle plays nephew to Lucien Litttlefield's grouchy uncle character, and Arbuckle's character is involved in all kinds of romantic difficulties; he's unable to work things out with the woman he really loves, and he's pursued by a number of others whom he doesn't love. All of these entanglements are set up in a light, fluffy way, and this part makes for pleasant comedy in itself.
In a shorter movie, the setup would most likely have been followed by a lot of slapstick and then a quick resolution, and indeed Roscoe and the cast could have done this without difficulty, since Arbuckle was an expert in working with that kind of format. But here, the story takes it in a more complicated and interesting direction, with the main character's predicament getting more complicated all the time, even as he resorts to various ruses. The last portion features a pleasantly manic unraveling of the tangled web that has developed, and it includes some witty ideas along with the slapstick.
This may not seem all that impressive now, because in the mid- to late 1920s the other silent comedy greats learned to master the full-length format, leading to many movies that are still among the all-time best comedies. Given the chance, Arbuckle could well have created his own comic gems over time. "Leap Year" is only good, not great, but it would have been a solid first step.
Only Viewable Arbuckle Feature Film of 1921
springfieldrental20 October 2021
Comedian director/writer and actor Roscoe Arbuckle had just signed a lucrative extension contract with Paramount Pictures in late summer of 1921 to produced 18 movies, making "Fatty" one of the highest paid people in Hollywood. To celebrate his signing, two friends arranged a party in San Francisco, reserving three hotel suites. Their guest list to the party included several actresses linked to the movie business.
One aspiring actress, 26-year-old Virginia Rappe, attended the September 5, 1921 ongoing celebration with a friend, Bambina Delmont. Rappe became sick and was throwing up in the toilet in Arbuckle's suite when the actor, he claimed, came in the room he was sharing with his friend to change his clothes. He carried her to his bed and asked friends for assistance in helping her. After a doctor had attended to her, she died two days later.
Normally her death would be treated as an accidental fatal illness attributed to her heavy drinking and her past addiction to drugs, alcohol and several abortions. But an aggressive state prosecutor who planned to run for California governor, and a press, especially newspaper mogul William Randolph Hearst, who saw a circulation stimulus right in his San Francisco backyard, chomped at the bit to indict and try Arbuckle in a salacious trial. The two forces were motivated by Ms. Delmont, a known grifter, extortionist and fraudster, who claimed Roscoe raped her friend in the most graphic terms.
Arbuckle underwent a grueling three-trial ordeal on manslaughter charges. The first trial, beginning on November 14, 1921, ended in a hung jury, with a 10-2 acquittal vote. The second trial, on January 11, 1922, with new evidence by Arbuckle's lawyers rebutting several claims of the prosecutor, didn't feel a need to put the actor on the stand, so convincing was their defense. That was a big mistake since the jury felt his refusal to personally testify was a sign of guilt and voted 10-2 to convict, still a hung jury verdict.
Arbuckle's team of lawyers decided to come into the third trial, held on March 13, 1922, with all guns ablazing. Unveiling the prosecution witnesses' dubious pasts and Rappe's sordid background, as well as Roscoe's convincing recollection of that September event on the witness stand, the jury unanimously decided on a not-guilty verdict. In fact, its members took a very unusual step in reading a prepared statement that "a great injustice has been done him..We wish him success and hope that the American people will take the judgment of fourteen men and woman who have sat listening for thirty-one days to evidence, that Roscoe Arbuckle is entirely innocent and free from all blame."
Unfortunately, because of the constant drumbeat of the press, an event where Hearst saw his chain of newspapers' circulation skyrocket writing in lurid, wildly-exaggerated detail of the Rappe's death, the public didn't see it that way. The movie industry was so shaken by the Arbuckle scandal along with religious organizations calling for federal censorship of movies, its members created the Motion Picture Producers and Distributors of America (MPPDA). One of its functions was to self-censor its members' movies and lobby various state censor boards not to ban certain films. The new organization was headed by the former Postmaster General, William Hays. Six days after Fatty's not-guilty verdict, Hays banned him from ever working in movies again. In December 1922, once the hysteria died down and the public realized the innocence of Arbuckle, Hays lifted the ban.
Roscoe by that time was a broken man. He was heavily in debt from paying over $700,000 (in 1922 dollars) for lawyer fees, his wife divorced him and movie studios shunned him. He did direct several movies under the pseudonym "William Goddrich," but never attained the popularity he once enjoyed.
The eight months in 1921 before the incident that changed his life, Arbuckle made an aggressive seven feature films for Paramount movies. The movies were planned to be slowly released to the pubic in the fall of 1921, but by that time theater owners refused to show them. Paramount didn't save any of the prints of those feature films he made that year. Some were shown in Europe and the prints belong in private hands. The only viewable movie to the general public of the seven he made that year is "Leap Year." It gives an indication of the direction Arbuckle was heading by the dampening of the knockabout physicality of his humor for a more sublime comedy sustaining an hour's plot. He plays a nephew of a rich uncle who's hounded by women knowing his wealthy background. But Fatty is focused in on his only true love, which he's loyal to a fault. The untimely death of Rappe and the subsequent publicity and trials of Arbuckle begs the question of how Arbuckle's farcical maturity would have produced further classics he was capable of producing, and serves as one of cinema's greater tragic missing chapters.
One aspiring actress, 26-year-old Virginia Rappe, attended the September 5, 1921 ongoing celebration with a friend, Bambina Delmont. Rappe became sick and was throwing up in the toilet in Arbuckle's suite when the actor, he claimed, came in the room he was sharing with his friend to change his clothes. He carried her to his bed and asked friends for assistance in helping her. After a doctor had attended to her, she died two days later.
Normally her death would be treated as an accidental fatal illness attributed to her heavy drinking and her past addiction to drugs, alcohol and several abortions. But an aggressive state prosecutor who planned to run for California governor, and a press, especially newspaper mogul William Randolph Hearst, who saw a circulation stimulus right in his San Francisco backyard, chomped at the bit to indict and try Arbuckle in a salacious trial. The two forces were motivated by Ms. Delmont, a known grifter, extortionist and fraudster, who claimed Roscoe raped her friend in the most graphic terms.
Arbuckle underwent a grueling three-trial ordeal on manslaughter charges. The first trial, beginning on November 14, 1921, ended in a hung jury, with a 10-2 acquittal vote. The second trial, on January 11, 1922, with new evidence by Arbuckle's lawyers rebutting several claims of the prosecutor, didn't feel a need to put the actor on the stand, so convincing was their defense. That was a big mistake since the jury felt his refusal to personally testify was a sign of guilt and voted 10-2 to convict, still a hung jury verdict.
Arbuckle's team of lawyers decided to come into the third trial, held on March 13, 1922, with all guns ablazing. Unveiling the prosecution witnesses' dubious pasts and Rappe's sordid background, as well as Roscoe's convincing recollection of that September event on the witness stand, the jury unanimously decided on a not-guilty verdict. In fact, its members took a very unusual step in reading a prepared statement that "a great injustice has been done him..We wish him success and hope that the American people will take the judgment of fourteen men and woman who have sat listening for thirty-one days to evidence, that Roscoe Arbuckle is entirely innocent and free from all blame."
Unfortunately, because of the constant drumbeat of the press, an event where Hearst saw his chain of newspapers' circulation skyrocket writing in lurid, wildly-exaggerated detail of the Rappe's death, the public didn't see it that way. The movie industry was so shaken by the Arbuckle scandal along with religious organizations calling for federal censorship of movies, its members created the Motion Picture Producers and Distributors of America (MPPDA). One of its functions was to self-censor its members' movies and lobby various state censor boards not to ban certain films. The new organization was headed by the former Postmaster General, William Hays. Six days after Fatty's not-guilty verdict, Hays banned him from ever working in movies again. In December 1922, once the hysteria died down and the public realized the innocence of Arbuckle, Hays lifted the ban.
Roscoe by that time was a broken man. He was heavily in debt from paying over $700,000 (in 1922 dollars) for lawyer fees, his wife divorced him and movie studios shunned him. He did direct several movies under the pseudonym "William Goddrich," but never attained the popularity he once enjoyed.
The eight months in 1921 before the incident that changed his life, Arbuckle made an aggressive seven feature films for Paramount movies. The movies were planned to be slowly released to the pubic in the fall of 1921, but by that time theater owners refused to show them. Paramount didn't save any of the prints of those feature films he made that year. Some were shown in Europe and the prints belong in private hands. The only viewable movie to the general public of the seven he made that year is "Leap Year." It gives an indication of the direction Arbuckle was heading by the dampening of the knockabout physicality of his humor for a more sublime comedy sustaining an hour's plot. He plays a nephew of a rich uncle who's hounded by women knowing his wealthy background. But Fatty is focused in on his only true love, which he's loyal to a fault. The untimely death of Rappe and the subsequent publicity and trials of Arbuckle begs the question of how Arbuckle's farcical maturity would have produced further classics he was capable of producing, and serves as one of cinema's greater tragic missing chapters.
Fatty Arbuckle film
SnoopyStyle28 November 2022
Jeremiah Piper (Lucien Littlefield) is a grumpy old rich misogynist. His nephew Stanley Piper(Roscoe 'Fatty' Arbuckle) is the apparent heir. He falls for his uncle's nurse Phyllis Brown (Mary Thurman). His uncle warned her about Stanley, but he intends to disprove the playboy accusation. It doesn't help that he gets pursued by various women.
I haven't seen that many Fatty Arbuckle films. I know that his career ended by some sort of unsavory scandal. He was supposedly a peer to the greatest silent film era comedians. He's basically a big guy who does a bit of physical comedy. At best, he's sort of like a Chris Farley without the innocence. The silent film era doesn't allow him to truly speak. He has a bit of physicality. I don't think that I laughed once for this movie.
I haven't seen that many Fatty Arbuckle films. I know that his career ended by some sort of unsavory scandal. He was supposedly a peer to the greatest silent film era comedians. He's basically a big guy who does a bit of physical comedy. At best, he's sort of like a Chris Farley without the innocence. The silent film era doesn't allow him to truly speak. He has a bit of physicality. I don't think that I laughed once for this movie.
HIGHLY contrived but watchable
planktonrules18 July 2006
Warning: Spoilers
This is a full-length Fatty Arbuckle film that was only released abroad because its completion coincided with the highly sensationalized rape trial of Fatty. And, while it's obvious that this is a high quality film made by a major studio instead of the perennially poor Keystone where he had done his earlier work, it's just not that great a film. It's got some very cute moments, but the film has two things working against it. First, the whole "stuttering" thing just isn't funny and it works even more poorly in a silent film. Fatty's character stutters from time to time and this in no may helps the plot and just seems like a cruel thing to joke about in films. Second, and more importantly, the problems that develop might be funny but could so easily have been worked out that it really strains credibility and seems very contrived. You see, Fatty wants to marry a lady and every time he talks to other lady friends about this, they think he's proposing. All he really had to do was TELL THEM the mistake and end the confusion then and there! But, he doesn't and chaos ensues. Plus, the very cute ending where he gets husbands for all three in VERY short order is funny but so unbelievable and once again contrived that it just doesn't work. A watchable but flawed comedy.
Not as Funny as Arbuckle's Shorts
kidboots23 May 2017
Warning: Spoilers
Roscoe "Fatty" Arbuckle had once been one of the screen's premier comedians and he and Mabel Normand had proved so lucrative in their pairings for Paramount that in 1918 the studio offered him a $3 million dollar contract to make 18 movies over 3 years. But the 1921 Labour Day scandal which resulted in the death of starlet Virginia Rappe and the trials which managed to keep Arbuckle's name connected with some salacious headlines for over 6 months destroyed his career. Even though the last trial completely exonerated him and the jury took the unprecedented step of composing a remorseful apology with each member embracing him and shaking his hand, there were moves afoot to prevent him from ever appearing on the screen again. Most of his movies due for release were destroyed or conveniently disappeared. "Leap Year", one of the very few to survive was eventually released in Europe in 1924 after Paramount forbade it U.S. release because of the scandal.
With the resurfacing of "Leap Year", it shows how prestigious Arbuckle's films were - directed by James Cruze and photographed by Karl Brown, ace cameraman for D.W. Griffith. I'm also wondering if Mary Thurman was the first actress to wear her hair in a bob on film - she plays the nurse, Miss Brown of Stanley's gouty old uncle (Lucian Littlefield) and is described as having a "sanitary haircut"!! She is fired early on but not before Stanley vows to her that he is not fickle in his affections!!
The thing I love about Arbuckle's comedy, he is not a "look at me, I'm a funny fat man" comic - in fact from the start he refused to do comedy that took advantage of his size. There are a few scenes in this movie that show his balletic grace, one at the start when he dances a solo tango to show he is just over the moon about Miss Brown's love....but then he arrives at Catalina Island and he finds he is fighting dames off with a stick - a golf club actually!! In view of the looming scandal and the seedy gossip making front page news in many papers, this plot featuring Roscoe as an unwilling girl magnet may not have been in the best taste!! The plot line for the first half hour just seems to be a handle to introduce a bevy of girls. There is fickle Molly (Gertrude Short) who sees in Stanley the real man she had been searching for!! Her fiancé is not amused! Then there is Lois (Helen Hammond), a gold digger who desperately wants to get her hands on his bank book!! She is down with her sugar daddy - but daddy's wife pays a surprise visit so Fatty is asked to escort her about so wifey won't get jealous. She wastes no time in proposing and in the effort to escape he swims out to a moored boat where he meets - bored Mrs. Rutherford who claims her husband doesn't understand her and that Stanley has swum all the way across the bay to propose!! The film ends when all the ladies converge onto his uncle's stately home and it soon resorts into a Benny Hill style chase!!
For me the movie was not particularly funny only in a broad slapstick way. And if this Paramount feature was typical of Arbuckle's output, I think his style was soon to be out moded as the 1920s went on. Certainly he was not a patch on the Big 3 - Chaplin, Keaton and Lloyd as far as comic talent went!!
With the resurfacing of "Leap Year", it shows how prestigious Arbuckle's films were - directed by James Cruze and photographed by Karl Brown, ace cameraman for D.W. Griffith. I'm also wondering if Mary Thurman was the first actress to wear her hair in a bob on film - she plays the nurse, Miss Brown of Stanley's gouty old uncle (Lucian Littlefield) and is described as having a "sanitary haircut"!! She is fired early on but not before Stanley vows to her that he is not fickle in his affections!!
The thing I love about Arbuckle's comedy, he is not a "look at me, I'm a funny fat man" comic - in fact from the start he refused to do comedy that took advantage of his size. There are a few scenes in this movie that show his balletic grace, one at the start when he dances a solo tango to show he is just over the moon about Miss Brown's love....but then he arrives at Catalina Island and he finds he is fighting dames off with a stick - a golf club actually!! In view of the looming scandal and the seedy gossip making front page news in many papers, this plot featuring Roscoe as an unwilling girl magnet may not have been in the best taste!! The plot line for the first half hour just seems to be a handle to introduce a bevy of girls. There is fickle Molly (Gertrude Short) who sees in Stanley the real man she had been searching for!! Her fiancé is not amused! Then there is Lois (Helen Hammond), a gold digger who desperately wants to get her hands on his bank book!! She is down with her sugar daddy - but daddy's wife pays a surprise visit so Fatty is asked to escort her about so wifey won't get jealous. She wastes no time in proposing and in the effort to escape he swims out to a moored boat where he meets - bored Mrs. Rutherford who claims her husband doesn't understand her and that Stanley has swum all the way across the bay to propose!! The film ends when all the ladies converge onto his uncle's stately home and it soon resorts into a Benny Hill style chase!!
For me the movie was not particularly funny only in a broad slapstick way. And if this Paramount feature was typical of Arbuckle's output, I think his style was soon to be out moded as the 1920s went on. Certainly he was not a patch on the Big 3 - Chaplin, Keaton and Lloyd as far as comic talent went!!
Leap Year is a Poor Performance
mcalfieri6 June 2005
I watched Leap Year last night on TCM, expecting to see evidence of lost brilliance, since Arbuckle has been touted as a comic genius of the silent years. I was very disappointed. Notwithstanding his status in 1920, his performance in Leap Year simply does not age well. While much has been written about the impact the scandal had on Arbuckle's film career, it may be that his career probably would have died anyway. Let's be honest, jumping up and down and grimacing in front of the camera is about all he did in Leap Year (though he did have some nice acrobatics). Arbuckle is not a peer of Chaplin or Keaton. The scene where he "swims to Japan" is forgettable - there is nothing special there. In fact, the long shots suggest that perhaps he did not do his own diving. For a long time I wondered what was lost when Paramount destroyed "Gasoline Gus" and some of the other features they had in the "can" when the Arbuckle scandal broke. If Leap Year is any indication, I don't think that silent film fans are missing anything.
Roscoe swims to Japan
F Gwynplaine MacIntyre1 March 2002
"Leap Year", starring Roscoe Arbuckle, was never released ... as it was about to be shipped to distributors when the scandal broke that destroyed Arbuckle's career. Tragically, the film was banned in Britain and several other nations during the furore over Arbuckle's alleged crimes. (He was eventually acquitted on all charges, yet the ban remained in place.) This film has a large production budget, some splendid location shots, and a witty script. "Leap Year" is excellent proof that Arbuckle was a major film star before his career came crashing down.
In "Leap Year", Roscoe is a wealthy Californian who just can't help attracting gorgeous women, even though he has a "steady girl". Considering Arbuckle's unromantic physique, we have to wonder how much of this female interest is directed towards his bank balance. There's one surprising shot in this movie, in which a man (not Arbuckle) enters a house through the bathroom window. He is clearly shown stepping onto the toilet seat, and using the toilet as a step to reach the floor. Film historians usually cite "The Crowd" (1928) as the first Hollywood movie to show a toilet, but "Leap Year" got there sooner.
One funny sequence, in which Roscoe tries to swim to Japan with his clothes on, shows Arbuckle's agility in the water. He was a very graceful man, despite his bulk. I give "Leap Year" 7 points.
In "Leap Year", Roscoe is a wealthy Californian who just can't help attracting gorgeous women, even though he has a "steady girl". Considering Arbuckle's unromantic physique, we have to wonder how much of this female interest is directed towards his bank balance. There's one surprising shot in this movie, in which a man (not Arbuckle) enters a house through the bathroom window. He is clearly shown stepping onto the toilet seat, and using the toilet as a step to reach the floor. Film historians usually cite "The Crowd" (1928) as the first Hollywood movie to show a toilet, but "Leap Year" got there sooner.
One funny sequence, in which Roscoe tries to swim to Japan with his clothes on, shows Arbuckle's agility in the water. He was a very graceful man, despite his bulk. I give "Leap Year" 7 points.
Two from Arbuckle
Michael_Elliott11 March 2008
Leap Year (1921)
* 1/2 (out of 4)
Fatty Arbuckle plays a man who suffers from the sickness of falling in love with every woman he meets. This doesn't sit well with his fiancé when three other women show up to his house, all claiming to be his fiancé. This is a really poor film, the first feature I've seen from Arbuckle. Everything Fatty was good at is missing in this film and it seems like there wasn't any effort put into it. The only real highlight is when Fatty tries to scare off the three women by pretending to have violent fits. The most interesting thing was that this was made prior to Fatty being accused of murder. When he was accused, Hollywood put a ban on his films so this was never released until the early 1980's, nearly fifty years after his death.
Waiter's Ball, The (1916)
** 1/2 (out of 4)
A waiter and a cook (Fatty Arbuckle) fight over who will take a waitress to a dance.
There's some good stunt work inside the kitchen and Fatty has a few nice scenes with a dead fish but not all of the jokes work. The ending is very good however.
* 1/2 (out of 4)
Fatty Arbuckle plays a man who suffers from the sickness of falling in love with every woman he meets. This doesn't sit well with his fiancé when three other women show up to his house, all claiming to be his fiancé. This is a really poor film, the first feature I've seen from Arbuckle. Everything Fatty was good at is missing in this film and it seems like there wasn't any effort put into it. The only real highlight is when Fatty tries to scare off the three women by pretending to have violent fits. The most interesting thing was that this was made prior to Fatty being accused of murder. When he was accused, Hollywood put a ban on his films so this was never released until the early 1980's, nearly fifty years after his death.
Waiter's Ball, The (1916)
** 1/2 (out of 4)
A waiter and a cook (Fatty Arbuckle) fight over who will take a waitress to a dance.
There's some good stunt work inside the kitchen and Fatty has a few nice scenes with a dead fish but not all of the jokes work. The ending is very good however.
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