A Reckless Romeo (1917) watch online HD

Fans of Roscoe Arbuckle will recognize this film as a reworking of the 1915 two-reel short Fatty's Tintype Tangle, one of his better-known Keystone comedies. In the earlier version, which Arbuckle also directed, Roscoe plays a middle-class husband pitted against his wife and mother-in-law. After an argument he gets drunk, then storms out of the house to a nearby park. There he is photographed with another woman by a "tintype" photographer, and when the picture finds its way into the wrong hands there is hell to pay. In this version Roscoe appears to be considerably more prosperous -- his house is enormous and he has a uniformed butler -- but he's still butting heads with his wife and her mother, who are angry with him for coming home late and intoxicated. To placate the ladies he takes them to an amusement park, but soon breaks away and flirts with an attractive young woman. A newsreel crew captures the action when the woman's boyfriend intervenes and beats Roscoe to a pulp with a clown doll (?!?!). A bruised and bloodied Roscoe returns home and tells a whopper, claiming that he was beaten for coming to the aid of a blind beggar. Later, when he escorts the ladies to the local cinema, the truth is revealed by a newsreel introduced with the title "Mashers Flirting in Our Parks Should Be Stopped," and Roscoe is in serious trouble once again.

Although only two years elapsed between the Keystone version and this one, which was produced for Arbuckle's own "Comique" company, the differences are striking. It may sound strange to say this about a slapstick comedy, but A Reckless Romeo is a rather sophisticated piece of work, and demonstrates that Arbuckle had made noticeable strides forward as a director. Where the earlier film was frantic and chaotic, this one has a steadier pace; if anything, it's a little slow in the opening scenes, but gradually builds in tempo as the characters reach the amusement park and the expected complications erupt. It's also apparent that the director and his crew were taking more time with cinematography, lighting, and camera angles: the opening sequence when the tipsy Roscoe comes home is handled with a degree of care that's surprising in a two-reel comedy. (Soft light from the fireplace is used to good advantage in these scenes.) The climax in the Rialto Cinema features a smooth tracking shot that is downright elegant. Furthermore, compared to the improvised flailing and mugging that was prevalent at Keystone, Arbuckle's performance in this film shows finesse. It's notable that, even when he's playing drunk, Roscoe tosses items such as hairbrushes into the air and then catches them behind his back with precision. Meanwhile the other actors seem to have taken a cue from the star, and toned down the Keystone-style overplaying somewhat.

Before I get too carried away rhapsodizing about sophistication and elegance, however, let it be said that there's still plenty of low comedy in A Reckless Romeo. Arbuckle's real-life nephew Al St. John plays his amusement park rival with characteristic gusto, showing typical gallantry by swiping some of his girlfriend's ice cream while she isn't looking. And generally speaking there's no shortage of fighting, flirting, and flagrant vulgarity throughout to please the most undemanding fan of good old slapstick. But we can't help but notice that, this time around, these familiar elements have been packaged with care, like jumping beans gift-wrapped in an expensive box.

One last note: for many years this film was believed to be missing, and it was believed that Buster Keaton might have appeared in it. He does not. A Reckless Romeo was made just before Keaton joined Arbuckle's Comique crew, but even without Buster this movie is a treat, as well as a testament to how far Roscoe Arbuckle had advanced as a filmmaker before his future protégé and partner in comedy arrived on the scene.

After a somewhat slow start, this 'Fatty' Arbuckle short feature picks up steam and is pretty amusing. It has Arbuckle as a somewhat restless husband trying to hide his escapades from his wife and mother-in-law. The first part has a couple of good gags, but otherwise things move a little slowly for the first few minutes. Then 'Fatty' really gets in a jam, and things pick up quickly. The second half has a film-within-a-film sequence that is cleverly done and that is also very funny, and this part works well. Overall, this is an entertaining comedy that any Arbuckle fan should like.

In the past I've seen more than 25 fatty arbuckle films,this is the latest and it really tickled me.To really enjoy an Arbuckle film it's important to watch his facial expressions and body language.To only look for the slapstick and roughhousing the viewer isn't getting the full entertainment value out of an Arbuckle movie.Those who get a laugh out of the faces Roscoe makes won't find some of the big names in silent comedys doing the same.Chaplin seldom showed his teeth,Keaton was the great stone face,Harry Langdon was famous for his baby face,I believe someone referred to them as the three sad clowns.Not so with Fatty,he's a happy guy usually looking for or having a good time,the average guy can usually relate to him.Early in this film fatty comes down to the breakfast table after being out late and getting drunk the night before.There awaiting him are his wife and mother-in-law.Any person that has been in a situation anything like that can relate to fatty's mannerisms,his shoulders are slumped,guilt all over his face,his walk consists of short little steps,I laughed out loud.In another scene to show embarrassment he gives a minimum of six expressions and body movements in a matter of seconds.I tried to mimic him and couldn't do it.Currently I haven't seen anyone on the modern screen that can do this,if they could do it like fatty they probably could write their own ticket.That's just part of the reason to check out this funny movie.

The film was shot at Palisades Amusement Park in Fort Lee NJ (owned by Nick & Joe Schenck from 1910-1935) and also on Main Street in Fort Lee outside the exterior wall of the Triangle Studio which Arbuckle used to shoot films for Keystone in 1915-1916 such as He Did and He Didn't and The Waiter's Ball. Mack Sennet, who worked with DW Griffith in Fort Lee from 1909-1912 and formed Keystone Studio in Fort Lee in the summer of 1912 prior to the move west, sent Arbuckle to Fort Lee to his Triangle Studio in 1915-1916. Arbuckle directed and starred in some of his best shorts including some with Mabel Normand. Fort Lee was a crucial spot for Sennett in that he starred in and likely directed portions of the first American slapstick comedy, 1909's The Curtain Pole. This film by Griffith for Biograph, was also shot on Main Street in Fort Lee.

Just watched this Roscoe "Fatty" Arbuckle short, one that was lost for a while, on the DVD called "The Cook and Other Treasures". In this one, Arbuckle has arrived home drunk late at night and neither his wife nor her mother are happy about it. To make it up to them, he takes them to Palisades Park and leaves them alone while he goes off on his own. Bad idea since Fatty not only flirts with pretty women again, one of those women's boyfriend catches him and starts a fight. Not only that, newsreel cameramen catch it on film...Unlike his previous Keystone shorts, Arbuckle takes his time in giving gags as he paces the story enough so we're at least taking time to know his character who's a bit on the naughty fun side but still seems innocent despite it all. Kudos especially to his nephew Al St. John for playing the jealous boyfriend with all the subtlety of James Finlayson! (Loved especially his reaction to Roscoe near the end.) Wonderful slapstick set pieces throughout. So on that note, I highly recommend A Reckless Romeo.

This short could easily have been stretched out at least 10 more minutes. Instead, a lot of stuff is crammed into a 23 minutes and the pacing seems way too rushed. It's too bad that longer silent comedies were mostly made in the 20s, because this one could have benefited from this longer format.

The movie is about a rich drunk jerk, played by Fatty. The film begins as Fatty tries to sneak in late after a night of binging--and he promptly falls asleep in a filled tub (a great gag--you gotta see it). The next day, he goes to the park and spends his time annoying young ladies and eventually getting into a fight as a result of his obnoxious advances. Little did he know that a camera man recorded most of what occurred.

Fatty now is pretty badly bruised and disheveled after the fight so he concocts this wonderful story about trying to help a blind man when he is attacked and single-handedly defeats a gang of thugs! Later, he and the wife go to the theater and the film of Fatty the masher is shown--at which point his wife and the audience pummel him! This film reminds me in some ways of the wonderful Laurel and Hardy film, SONS OF THE DESERT when it comes to the boys being caught on film doing something naughty and the wife later finds out when she goes to the theater. This really isn't surprising, as almost every short of that time period has roots in other comedies both before and after.

A very good Arbuckle film.