A couple of days ago I was fortunate enough to catch this rare short at the "Slapsticon" comedy festival in Bloomington, Indiana. Its star, Wanda Wiley, was one of many hardworking comediennes of the silent era, most of whom (aside from Mabel Normand, and perhaps one or two others) are now forgotten, largely because most of their films are lost. It's a shame, especially in Wiley's case, because the surviving comedies from her mid-1920s heyday reveal a distinctive, appealing personality and rare comic skill.
A consistent element of Wiley's films -- of the survivors, that is -- is an emphasis on action. The Queen of Aces is somewhat less thrill-packed than the others I've managed to see, though no less enjoyable. This short is a briskly paced mistaken identity farce built around cross-dressing. In keeping with her dynamic reputation our leading lady, who is called Mary here, is first seen fencing with great vigor. But the father of the young man she hopes to marry strongly expresses his disapproval of the match, calling her a "cavewoman" and a "he-female." He also makes it clear that he has no intention of inviting her to the swanky party his family is throwing, news which is conveyed to Mary by her boyfriend's sister. Offended, Mary decides to attend the party dressed as a man, complete with tuxedo and a glued-on handlebar mustache.
Our leading lady, who looks quite fetching in male attire (except perhaps for that cookie-duster), shows up at the party and charms everyone, including her boyfriend's father; so much so that the old goat invites "him" along to indulge in some gambling at an illicit den of vice. Which, of course, is promptly raided by the police. The two of them escape by rushing to the roof of the building, hiding in barrels, and tumbling off quite accidentally -- an amazing sequence, beautifully photographed -- miraculously landing unhurt. But the cops are after them, so Dad takes the still-disguised Mary back to his home, insisting that "he" spend the night in his son's room. So, irony of ironies, the guy who opposed the match between his son and the "he-female" forces them into bed together!
The ensuing complications are somewhat familiar if you've seen a few bedroom farces, yet amusing nonetheless. And I guess I'm not giving anything away by reporting that matters end happily for the young couple. The Queen of Aces isn't as offbeat as, say, A Thrilling Romance, which is my favorite Wiley comedy thus far, but it's a charmer. I wish I could urge everyone who is interested in this beguiling comedienne to go to Netflix and put The Best of Wanda Wiley in your queue, but unfortunately that can't be done. It isn't easy to see her films. Even so, if you can make the trip to any museum screenings or silent comedy festivals, Wanda is well worth the effort.
A consistent element of Wiley's films -- of the survivors, that is -- is an emphasis on action. The Queen of Aces is somewhat less thrill-packed than the others I've managed to see, though no less enjoyable. This short is a briskly paced mistaken identity farce built around cross-dressing. In keeping with her dynamic reputation our leading lady, who is called Mary here, is first seen fencing with great vigor. But the father of the young man she hopes to marry strongly expresses his disapproval of the match, calling her a "cavewoman" and a "he-female." He also makes it clear that he has no intention of inviting her to the swanky party his family is throwing, news which is conveyed to Mary by her boyfriend's sister. Offended, Mary decides to attend the party dressed as a man, complete with tuxedo and a glued-on handlebar mustache.
Our leading lady, who looks quite fetching in male attire (except perhaps for that cookie-duster), shows up at the party and charms everyone, including her boyfriend's father; so much so that the old goat invites "him" along to indulge in some gambling at an illicit den of vice. Which, of course, is promptly raided by the police. The two of them escape by rushing to the roof of the building, hiding in barrels, and tumbling off quite accidentally -- an amazing sequence, beautifully photographed -- miraculously landing unhurt. But the cops are after them, so Dad takes the still-disguised Mary back to his home, insisting that "he" spend the night in his son's room. So, irony of ironies, the guy who opposed the match between his son and the "he-female" forces them into bed together!
The ensuing complications are somewhat familiar if you've seen a few bedroom farces, yet amusing nonetheless. And I guess I'm not giving anything away by reporting that matters end happily for the young couple. The Queen of Aces isn't as offbeat as, say, A Thrilling Romance, which is my favorite Wiley comedy thus far, but it's a charmer. I wish I could urge everyone who is interested in this beguiling comedienne to go to Netflix and put The Best of Wanda Wiley in your queue, but unfortunately that can't be done. It isn't easy to see her films. Even so, if you can make the trip to any museum screenings or silent comedy festivals, Wanda is well worth the effort.
