Originally released as a 'split-reel' (a term used in the old days when two very short films were presented on the same reel) along with A BANDIT, the 1913-comedy PEEPING PETE does perhaps primarily remain of historical interest today due to the fact that it includes the earliest surviving screen appearance of the soon-to-be star Roscoe Arbuckle. Still, this little comedy, as simple as any produced at the Funny-Factory, has certainly maintained a certain value for the sake of entertainment as well, for anyone familiar with silent comedy. We are introduced to Pete (played by no other than Mack Sennett himself, who apparently also directed this film), a rather sly and irresponsible sort of fellow blessed with a habit of spying on his neighbor's pretty wife through a little knothole in a fence. The neighbor (Ford Sterling) is quite conscious of this, and finally sneaks around the fence equipped with a loaded revolver, intending to once and for all give Pete a final lesson. It turns out that Pete also is in possession of a shooter, however, and off we go to witness the two men threatening and hiding from each other all over the little town.
It is hardly by chance that this little film was recently made available on DVD as part of the NICKELODIA Vol. 2, sharing the bill as one comedy among five short dramas of the period. At the time, still before American screen comedy had reached a firm form, comedies had seldom more to offer than humorous rip-offs of familiar melodramas in order to earn the laughs that audiences demanded. Interestingly, though, in Keystone's case many of the earliest productions seem more sophisticated and technically impressive than the films made one and two years later. I suppose this is largely because inexperience often causes circumspection; as Keystone was not quite established yet, the company did not trust its own methods as shamelessly as they were soon to do, hence not taking for granted that all the public wanted was loads of incoherent madness and instead stay at a safer tempo. PEEPING PETE provides little of the typical fast-paced hysteria that served the only purpose of filling in as many gags as possible; instead, it is decently structured and developed within a tempo which, while fast enough to maintain the interest of the viewer, makes it possible to study all details and actually understand what everybody are so mad about. The gags are small and in no way revolutionizing, but nevertheless amusing and nicely performed. At one point, for instance, Ford angrily walks into a saloon with the revolver in his hand, not realizing that as he points at the bartender to order a drink he gives the impression of being a robber. Ford quickly recognizes his mistake, but doesn't hesitate to correct his identity; after all, a robber don't have to pay the bill. Similar small, amusing gags pop up every now and then and make this film quite enjoyable.
Some of the performances are also worth a look. Besides being the earliest surviving appearance of Arbuckle on film, PEEPING PETE also provides this performer's first impersonation of a woman (as Pete's wife). While I am aware that male performers appearing in drag (an element quite frequently repeated in silent comedy) is not everyone's cup of tea, this one is easily one of Roscoe's best and would hardly disappoint many. Again, inexperience may have been a contributing factor; later on, Arbuckle would often equip his drag-performances with an exaggerated portion of nonsensical femininity, which certainly enriched the opportunities for gags but which also, at times, diminished the subtlety of the comedy. Here, on the other hand, Roscoe does a remarkably convincing and natural performance, only ridiculed by a few prat-falls and his (her?) frustration of his husband's behavior. Ford Sterling gives a decent performance as the jealous neighbor, emphasizing clearly that he is a comedian but doing so perfectly well without depending on the over-the-top mimicry which was to become his trademark.
In short, the seven-minute long PEEPING PETE is like any comedy from the time very simple in terms of story and gags, but it is certainly among the most charming and decently constructed from the period and worth a look for fans of silent comedy.
It is hardly by chance that this little film was recently made available on DVD as part of the NICKELODIA Vol. 2, sharing the bill as one comedy among five short dramas of the period. At the time, still before American screen comedy had reached a firm form, comedies had seldom more to offer than humorous rip-offs of familiar melodramas in order to earn the laughs that audiences demanded. Interestingly, though, in Keystone's case many of the earliest productions seem more sophisticated and technically impressive than the films made one and two years later. I suppose this is largely because inexperience often causes circumspection; as Keystone was not quite established yet, the company did not trust its own methods as shamelessly as they were soon to do, hence not taking for granted that all the public wanted was loads of incoherent madness and instead stay at a safer tempo. PEEPING PETE provides little of the typical fast-paced hysteria that served the only purpose of filling in as many gags as possible; instead, it is decently structured and developed within a tempo which, while fast enough to maintain the interest of the viewer, makes it possible to study all details and actually understand what everybody are so mad about. The gags are small and in no way revolutionizing, but nevertheless amusing and nicely performed. At one point, for instance, Ford angrily walks into a saloon with the revolver in his hand, not realizing that as he points at the bartender to order a drink he gives the impression of being a robber. Ford quickly recognizes his mistake, but doesn't hesitate to correct his identity; after all, a robber don't have to pay the bill. Similar small, amusing gags pop up every now and then and make this film quite enjoyable.
Some of the performances are also worth a look. Besides being the earliest surviving appearance of Arbuckle on film, PEEPING PETE also provides this performer's first impersonation of a woman (as Pete's wife). While I am aware that male performers appearing in drag (an element quite frequently repeated in silent comedy) is not everyone's cup of tea, this one is easily one of Roscoe's best and would hardly disappoint many. Again, inexperience may have been a contributing factor; later on, Arbuckle would often equip his drag-performances with an exaggerated portion of nonsensical femininity, which certainly enriched the opportunities for gags but which also, at times, diminished the subtlety of the comedy. Here, on the other hand, Roscoe does a remarkably convincing and natural performance, only ridiculed by a few prat-falls and his (her?) frustration of his husband's behavior. Ford Sterling gives a decent performance as the jealous neighbor, emphasizing clearly that he is a comedian but doing so perfectly well without depending on the over-the-top mimicry which was to become his trademark.
In short, the seven-minute long PEEPING PETE is like any comedy from the time very simple in terms of story and gags, but it is certainly among the most charming and decently constructed from the period and worth a look for fans of silent comedy.
