Motion Picture Classic (1923, 1924, 1926)

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"Break the shock of the fall with either your hands, your shoulders, or your hips. Be careful not to let your elbows or knees slam against the ground or you'll get some mighty painful bruises. And, above all things, guard your spine ! That is the one big danger spot, and failure to guard it thoroly can easily result in very serious injury." Standard Falls "Then, the preparations completed, Billy went thru three standard falls while the speed camera clattered away at a breakneck pace, and vibrated so strongly that it took both assistants to hold it firmly in place on its tripod. The three falls were the "Forward," the "Backward," and the "Hundred -and -Eight." The illustrations show each of the three in detail. THE BACKWARD. This is one of the most used falls in comedy work, serving as the aftermath of a wallop on the jaw, a brick on the skull, and other similar impulses. (1) The hands are spread for balance, and the left foot is thrown back to start a swift pendulum swing forward. (2) As the body falls backward, the hands prepare to take the impact. (3) The hands and wrists strike the ground as the feet leave it ; the left foot has nearly completed its forward swing. (4) At the end of the fall, the shoulders take the impact from the hands, and the feet fly high in the air, preparatory to the final sprawl. THE FORWARD. Again the left leg is used as a pendulum, starting from well in front of the body this time. (1) As the left leg swings back, the body is thrown forward. (2) For an instant, as the left leg completes its swing, the right foot leaves the ground and the entire body is in the air. (3) The hands take the impact. (4) The body goes limp and the right shoulder takes the shock of the remainder of the fall, while the face meets the sod harmlessly. THE "HUNDRED -AND -EIGHT." This is the most spectacular and famous of all comedy falls. It is so old and traditional a stunt that no one even remembers where it got its unique name, tho one Hollywood wag claims that it was named in honor of the first hundred and eight comedians who broke their necks trying to do jt. The left leg is again used as a pendulum, being swung far back first, then (1) far forward. (2) As the leg swings back a second time, the body lurches forward. (3) Midway in its swing, the body is almost exactly parallel to the ground. (4) The hands take the impact for a second. (5) The head is tucked under, the feet fly over, and the full shock is taken on the shoulders. (6) The end of the fall is eased by the left foot and hip. Al and Lupino J"1 wo other master craftsmen among Hollywood's "fall comics" are found over on the Educational Studio lot in the persons of Al St. John and Lupino Lane. St. John is a capable exponent of the American style, Lane of. the English. Lane comes from a long line of circus and theatrical performers and his art has literally been handed down to him from his ancestors. Lane's act on the English music hall and American vaudeville stages consisted of an amazing number of "traps," as they are called in England — falls, dives thru "breakaways," etc.— and he had acquired a wonderful proficiency in his work. Al St. John is a natural born tumbler. Much of his prowess is due to the amazing strength in his arms, shoulders, and legs, and his great agility. "The secret of the successful fall, successful in the sense that the comedian escapes without broken bones or serious bruises," St. John explains, "is the same as that of the successful magician — the hand is quicker than the eye. It is the hands and arms of a tumbler which take the jolt, in the same way that springs and shock-absorbers function on an automobile. "The fall is broken by the hands and the strain comes upon the arms and shoulder muscles while they are checking the descent of the body. In reality, the body does not hit the floor as hard as it appears to, but it hits plenty hard, at that! The arms and shoulders in a successful fall have checked the force enough that there are no casualties among the bones. But muscles must be hard and in excellent condition, or bruises and stiffness are the lot of the 'bumper.' Watch Your Neck "Defeated falls, checked by the hands, soon make the wrists very sore. I have worked when my wrists were so tender that it was less painful to take the bump full force than to try to check it with my sore wrists and hands. Then it was just a case of gritting my teeth and taking it, depending on well-conditioned muscles and well-cushioned bones to escape injury." Lane's instructions to the would-be "bumper" contain the same general technical directions — to check the fall with the hands, arms, or shoulders. Lane is also an advocate of the "rolling fall," well known to acrobats, for falling when running. The "rolling fall" is merely tucking the head down, rounding the shoulders and back, and keeping the knees, elbows, and feet well out of the way while rolling and tumbling. Lane is so expert at this type of fall that he can dive thru a hoop held at the level of his chin, land on his neck or shoulders, roll like a hoop and come up standing, all without disturbing an item of his immaculate clothing, or even losing his hat. DE sure to read the interesting new series of articles appearing exclusively in the CLASSIC — Them Were the Happy Days by Bert Ennis. The November issue will feature the Keystone days. Order your copy now. 82