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the motion picture industry, December 1913, and Mack Sennett 25
mostly buffoons in the circus and vaudeville tradition, exaggerated in make-up and in acting style. Germany's contribution in that period consisted of several light comedians from the stage, of whom the most popular was ErnsX.J-ubiudi, playing bumptious young Yiddish clerks in comedies whose appeal was virtually limited to German audiences.
Chaplin came at the psychological moment; the screen was ripe for him.
A Note on Mack Sennett
The Keystone studio, where Chaplin made his first movies, was located at 1712 Allesandro Street, Glendale, California. From the summer of 1912 on, its presiding genius was the colorful and fabulous Mack Sennett, a Canadian by birth and then in his thirties. Sennett had learned movie technique from D. W. Griffith who had directed him in comedies for the Biograph Company from 1908 to 1912. The sequence of his career had been boiler-maker to chorus boy to comedian to director.
Sennett is rightly called the father of American film comedy. Despite some influences from early French farce and trick pictures, his wild action, slapstick, play upon physical disaster, inspired nonsense, and burlesque of every convention and institution, sacred or otherwise, is indigenously American. He assembled a wonderful troupe of clowns; he originated the hilarious Keystone cops and the eye-magnetizing bathing beauties, along with the flying custard pie, and fantastic gags often involving trick camera work.
Among the stars Sennett introduced or developed were Ford Sterling, Mabel Normand, Fatty Arbuckle, Mack