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The Boob features the talents of George K. Arthur as a naive country boy who is trying very hard to impress a young lady Gertrude Olmstead, but she can't see him for beans, much preferring the slick talking city guy Antonio D'Algy. He even puts on a big cowboy outfit, but Olmstead laughs at him, saying he's just a Tom Mix wannabe.

This was my first exposure to the comic talents of George K. Arthur whose career sputtered to a halt with the coming of sound. The role he plays here would be the kind that Joe E. Brown would do in the Thirties, Red Skelton might try in the Forties and after his split from Dino, Jerry Lewis might have a go in the Fifties at.

There's rumor of bootlegging being done in the area and guess what, D'Algy's at the bottom of it. I think just about anyone else can figure out where the rest of this film is going.

Former Mack Sennett employees Hank Mann as the soda jerk and Charles Murray as the grizzled old time western sidekick to Arthur are featured. Murray has a very nice turn as a man who just because Prohibition is in the land is not going to let that stand in the way of that old western tradition of the saloon. In fact I've often wondered what happened to the saloon in Prohibition times and The Boob does provide something of an answer.

The film might have been forgotten today, but for the presence of Joan Crawford in a secondary role as a Treasury agent. In fact that's a feminist concept many years ahead of its time. What must Eliot Ness have thought of this film? Crawford could have been given a lot more to do in this film. In her next film she would also be in support of a silent screen comic, Harry Langdon in Tramp Tramp Tramp.

The Boob was pleasantly amusing enough and it was interesting to see Joan Crawford in her silent days, something I hadn't done until now.

THE BOOB (Metro-Goldwyn-Mayer, 1926), directed by William A. Wellman, a long forgotten silent comedy, made its television premiere on Turner Classic Movies April 3, 2003, as part of its "Directors Under 30" spotlight, along with a piano score by a young composer named Arthur Barrow. Although feature billing goes to Gertrude Olmstead, the story relatively belongs to George K. Arthur playing in the title role.

The opening title card start off with "The same old story," in which a young country girl named Amy (Gertrude Olmstead) is seen sitting on a velvet swing smooching with Harry Benson (Antonio D'Arcy), a city slicker, by Peter B. Good (George K. Arthur), a rustic farm hand who happens to be in love with her. Suspicious of this man who not only wants to marry Amy, but wanting to meet at the Booklovers Club, Peter learns that Harry might be a bootlegger involved in illegal doings in the Wyoming town near his farm. To prove to Amy and to himself that he is not a weakling, or in other words, a "Boob" (the then slang term for today's description of a "jerk") as he is made up to be, Peter, after failing to make an impression by wearing some outlandish cowboy clothes, decides to become a prohibition agent and obtain proof that this city slicker is not on the level with her. After getting into the Booklovers Club, Peter not only notices the club members there drinking from the books (where the liquor is kept), but encounters a woman named Jane (Joan Crawford) who might either be one of the "club members" or a secret agent.

THE BOOB has the distinction of being a film that combines the elements of the works of directors D.W. Griffith (the country boy trying to make good) and Mack Sennett (comic characters and a car chasing scene), but fails on both levels. What makes this particular one hour length comedy of sole interest today is an early screen appearance of future screen legend, Joan Crawford, whose character doesn't make her first screen appearance until thirty minutes from the start of the film. Almost unrecognizable, she does obtain a screen presence that stands apart from the other actors. George K. Arthur, a young comic relief-type of MGM silents during the 1920s, who somewhat resembles future film actor, Jack Haley, performs his task well, but had this same character been played by the likes of the more popular comic, Buster Keaton (two years away from becoming an MGM contract player), chances are he would have developed his yokel boy into something special. Arthur appeared in other MGM films, usually teamed opposite the tall Karl Dane, but because their films haven't been seen since their initial releases, Arthur and Dane, separately or together, have become obscure names from Hollywood's past. They both faded by the advent of talkies.

Also seen in the supporting cast are Charles Murray as Cactus Jim, sporting a droopy mustache that makes him resemble another silent screen comic of the time, Snub Pollard; Hank Mann as the Village Soda Jerk; and Babe London briefly seen as the Fat Girl. Interestingly, there is another character in the story who is given enough screen time to warrant his name in the casting credits, but doesn't. He's a little black boy characterized as Ham Bunn who accompanies George K. Arthur, along with a little dog, throughout the film.

THE BOOB, which has fortunately survived after all these years, while many other silent movies from this era have vanished to dust, for all it's worth, is still a worthy offering and a real curio at best. And Arthur Barrow should also be commended for supplying this forgotten little item with a satisfactory piano score to help this movie along. THE BOOB will never be regarded as a sort-after comedy masterpiece, but a place in cinema history as a surviving silent film featuring Joan Crawford, or one of the early works of director William A. Wellman, and nothing else. (**)

The Boob is a charming silent comedy about a farm boy named Peter Good (George K. Arthur) who is in love with a girl named Amy (Gertrude Olmstead). Amy, as is so often the case, doesn't like Peter back. So, to prove himself to Amy, Peter dresses up like a cowboy and goes after bootleggers. Wait...what? Yeah, it's a little dumb plotwise but it's cute and funny. Nice performances from Arthur and Charles Murray as Cactus Jim. Contrary to the way the film is advertised on TCM as well as the DVD cover, it is not a starring vehicle for Joan Crawford. Joan has a small part as a revenue agent (!). This is also an early William Wellman film before he made it big with "Wings."

Country boy George K. Arthur (as Peter Good) is in love with Gertrude Olmstead (as Amy), but she has taken up smooching with city-slicker Tony D'Algy (as Harry Benson). Mr. Arthur dons western Tom Mix-type clothing to appear more manly, but Ms. Olmstead is unimpressed. Arthur suspicions that Mr. D'Algy is really a criminal bootlegger are proved to be correct. Then, Arthur must rescue Olmstead from D'Algy's clutches...

Though he is a likable character, this is a dated-to-the-point-of-unfunny comedy feature for Arthur. Most unfunny is Charles Murray (as Cactus Jim)'s running gag about hiding his endless supply of booze - helped, no doubt, by bootleggers. Joan Crawford (as Jane) lifts spirits considerably, with her turn as a crack revenue agent. D'Algy is a good kisser. "The Boob" is more of a curiosity than a comedy, but it's a chance to see some silent performers in well-preserved celluloid.

**** The Boob (5/17/26) William A. Wellman ~ George K. Arthur, Gertrude Olmstead, Joan Crawford, Tony D'Algy

Boob, The (1926)

** (out of 4)

William A. Wellman directed this comedy about a farm boy (George K. Arthur) who has his dreams dumped on when the girl he loves (Gertrude Olmstread) falls for a bootlegger. This film is heavily influenced by Keaton, Lloyd and Chaplin but it never reaches those heights because it's just not that funny. The funny joke is that the film takes place in the 1920s and an old cowboy makes the farm boy dress up as if it were the 1820s. There are a few funny moments but for the most part all the jokes fall flat on their face. Arthur makes for a rather poor leading man but Joan Crawford is good in her small role. Olmstread is decent in her role but it's another role where our hero falls for a woman who is a bitch throughout the movie. The one thing that sets this film apart is that Arthur's best friend in the movie is a small black boy and the film never plays down to racial jokes or racial stereotypes, which is certainly rare for this era.

There's a minor subgenre of silents in which a small town full of country folks somehow supports a lavish speakeasy filled with hundreds of folks in tuxedos, until the country folks toss them out. This has some connection to 1920s reality, as little towns comfortably in the sticks suddenly found themselves a short drive from a big city by car, and easily corrupted by big city money; places like Cicero and Calumet City, Illinois became wholly owned subsidiaries of the Chicago mob, and even Southern Wisconsin, for instance, is dotted with roadhouses and "inns" boasting "Al Capone slept and gambled here." You rarely if ever see the big city in movies like The Country Flapper, Delicious Little Devil, The Strong Man or The Boob; the tuxedo-wearing swells seem to generate spontaneously at night, like mushrooms.

The Boob is one of these tales and it suggests that by 1926, the subgenre was familiar enough that it could be kidded and caricatured along the way; the movie is full of broad, humor as well as a special effects dream sequence that seems to have walked straight in out of Winsor McCay's Dreams of a Rarebit Fiend. George K. Arthur is The Boob, Peter Good, whose girl May has fallen for the big city swell who runs the speakeasy (which, speaking of lavish, was apparently a redressed Ben-Hur set!).

After an old-timer teaches him the rudiments of being a rootin-tootin' gunslinger, he sets out after the speakeasy and its owner like Bill Hart in Hell's Hinges, and in a farcical manner reminiscent of The Strong Man, he does bring it down, if not exactly as he planned. If you doubt that The Strong Man was the model, note that Joan Crawford turns up in the decidedly thankless, if at least impressively feminist, role of a big city law enforcement agent whose bestowal of approval on Arthur helps him eventually win May over.

In "The Boob," there's a scene where an Old West painting comes to life as a motion picture--a mise-en-abyme that Cactus Jim employs to describe his slaughtering of Indians to the outer story's hero, who's unimaginatively named "Peter Good." Besides being the most interesting moment in this otherwise forgettable silent comedy, the film-within-the-film, or boob-tube-like projection, allows Cactus Jim to synthesize his racism with his misogyny, as he explains to Peter that, "If I could clean out the whole Indian army, you oughta be able to stampede one fool female girl."

Otherwise, the effects here are uneven. The fight on a moving car includes some impressive stunt work and trick shots, including a subsequent nightmare that looks like an early Georges Méliès féerie with its superimposed automobile driving through the sky. Some slow and reverse-motion photography for a scene involving a dog and a broken bottle of booze and a long and laugh-less routine involving some inconsequential character's incompetence at eating, however, entirely fall flat. Moreover, this comedy neglects being funny throughout. Cactus Jim's bow-legged drunkenness is as lacking in charm as his bigotry. There's an African American child who's named, of all things, "Ham Bunn" and who's introduced with a comparison of him to a dog and a casual racial dig of him being Peter's "shadow." (Meanwhile, Benzie the dog is Ham's "dogged echo.") There are also the too-common intertitles affecting a supposed black dialect as written by white people.

The main story is the usual trite love triangle between a couple country boobs (bumpkins, that is) and the other man from the city, who, of course, is the villain. Turns out, the city slicker is a bootlegger, too, among other dastardly deeds. Why not? Anyways, all of this is poorly plotted with too many episodes that aren't funny and sometimes don't even seem to have been meant to be. I mean, how does dwelling on the home for impoverished women add to the slapstick? Did they really think they were injecting Chaplin-esque pathos here? A graveyard scene is also unfunny and rather inexplicable as to Peter meeting the Treasury agent, disguised as someone bereaved, there. Probably the main interest here for classic cinema fans is that the agent is played by a pre-stardom Joan Crawford. She comes off better than anyone else here, but that's not saying much, for what is otherwise a thankless small part.

At first, it may seem surprising that this was directed by William A. Wellman, who the very next year would supervise one of the inaugural Best Picture Oscar winners, "Wings" (1927). But, there are a few visual similarities. As in "Wings," there's a scene with a couple on a swing, with the camera swinging along with them. There are also glossy close-ups with blurred backgrounds in both. Plus, "Wings," too, involves impressive mechanical and photographic effects within what is essentially another love triangle, although, especially with Clara Bow, the boobs are more alluring. "The Boob," on the other hand, is not recommended.

The Boob is one of those ancient films rescued from perpetual obscurity by Turner Classic Movies, and while it may not be on a par with Keaton or Lloyd, it's still an entertaining and quite funny film. George K. Arthur is the Keatonesque milquetoast on the trail of bootleggers, and while he lacks Buster's acrobatic skills and doesn't really connect emotionally, he's alright. Charles Murray has some of the film's funniest moments as the perpetually soused cowboy Cactus Jim, but the film really stands out during some terrific fantasy sequences, including a flying bed scene and a Frederick Remington painting come to life. A genuine discovery for fans of silent comedy.

Country bumpkin Peter Good is heartbroken to see his crush Amy fall for city guy Harry Benson. Hard-drinking Cactus Jim gives him a cowboy makeover, but it doesn't work on the girl. He suspects that Benson is a bootlegger and intends to take down the criminal.

I'm not here to sing high praises for this movie. My best complement goes to the dog. It's not great cinema, but the story is functional. There are fine elements. Peter and Cactus Jim are fine. I wouldn't give two seconds to Amy. She's meaningless. I don't really understand the premise of the old lady. It should be more compelling for the three characters and the dog to go off on an adventure together. Whatever. I like the dog.

A naive country boy desperately tries to rescue his silly sweetheart from the affections of a shyster lawyer.

Unseen for decades, THE BOOB is a wonderful surprise, a delightful silent comedy Western, full of the right mixture of good humor & pathos. At barely an hour in length and with the support of an excellent new piano score by Arthur Barrow, it will inevitably invite favorable comparison with Harold Lloyd's masterpiece, THE KID BROTHER (1927).

Scots actor George K. Arthur, a popular MGM comic star at the end of the silent era, wins immediate sympathy with his sad face and diminutive stature. All decked out in cowboy duds he looks ridiculous, and the audience instinctively knows he'll have to endure much humiliation before the final fade-out.

Character actor Charles Murray is hilarious as the boozy bowlegged old buckaroo who grubstakes Arthur - just watching his droll facial expressions is a joy. Special mention should be made of the uncredited African American lad playing the part of Ham Bunn, who, with his trusty mutt Benzine, faithfully shadows Arthur to keep him out of trouble.

Pretty Gertrude Olmstead plays Arthur's fickle girlfriend; Antonio D'Algy is all hair oil and suavity as the sinister lawyer. A very young Joan Crawford is rather incongruously cast as the undercover leader of a team of agents tracking dangerous bootleggers. Movie mavens will recognize an uncredited Edythe Chapman as the impoverished old lady befriended by Arthur.

In a very funny sequence that has little connection with the rest of the film, soda jerk Hank Mann receives tips on etiquette from his enormous sweetheart, an unbilled Babe London, while dining at a swanky speakeasy.

The film enjoys all the customary MGM spit & polish.

I recently viewed this film on Turner and found it to be an extremely enjoyable silent comedy. I was originally only interested in seeing Joan Crawford at this early point in her career. I thought the story line, while rather absurd, allowed the various situational "jokes" to be accomplished neatly. Interestingly, I found nothing in the role of the young black actor which was racist, an oddity considering the age of this movie. Perhaps denying him any credit for his work was deemed sufficient punishment. It was apparent that some portion of the script was edited out, since nothing was ever developed regarding the other ladies' objections to the elderly woman's "relationship" with the George K. Arthur character. Ultimately, the main attraction of this film is its absolutely stunning photography, courtesy of the great William H. Daniels. With the exception of some interior scenes, this was filmed like a collection of beautifully composed 19th century still photographs. Incidentally, I agree with the earlier commenter who thought the hero should have dumped Amy.

This movie just aired the other night for the first time on Turner Classic Movies. Although I missed the first few minutes, it is a lousy slapstick comedy with George K. Arthur in the lead as a dumb farm boy trying to help the law capture some bootleggers. Joan Crawford is the high point here, in one of her first films. She has a small supporting role as Jane, and Crawford herself also hated this movie. She thought she was being punished by MGM for getting this part. Earns *1/2 stars out of four.