Fact-checked by Grok 2 weeks ago

Chester Conklin

Chester Conklin (January 11, 1886 – October 11, 1971) was an American comedian and actor best known for his roles in silent films as one of the original Kops, a police comedy troupe created by at Studios. Born Chester Cooper Conklin in , he grew up in a tumultuous household marked by violence; his mother perished in a fire when he was eight years old, and his father was later acquitted of related murder charges. After early work as a , performer, and comedian, Conklin entered the film industry in 1913, debuting in the Sennett-directed short Hubby's Job and quickly becoming a fixture in 's chaotic two-reel comedies, where he often portrayed bumbling authority figures with his distinctive walrus mustache. Over a career spanning more than five decades, Conklin appeared in over 280 films, roughly half during the silent era, collaborating with luminaries such as in early shorts and in later classics like Modern Times (1936) and (1940). He transitioned successfully to sound films, taking dramatic and comedic supporting roles in productions including (1924), Gentlemen Prefer Blondes (1927), The Virginian (1929), and (1942), while continuing to evoke his slapstick roots in occasional Kops revivals. His final screen appearance was in 1966, and for his contributions to motion pictures, he received a star on the at 1560 . Conklin's personal life included four marriages: to Minnie V. Goodwin (1913–1933, divorced), Margherita Rouse (1934–1937, her death), Valda C. Genessee (1949, divorced 1950), and Catherine June Ayres Gunther (1965 until his death). He passed away at age 85 in , , leaving a legacy as a pioneering figure in American comedy who bridged , silent , and the talkies.

Early years

Childhood and family background

Chester Cooper Conklin was born on January 11, 1886, in Oskaloosa, Mahaska County, Iowa, to Philemon Bliss Conklin, a coal miner, and Alice A. Conklin. The family lived in a modest household amid the coal-mining community, where Conklin was one of three children raised under strict religious principles. His father, deeply devout, held strong expectations that his son would pursue a career in the ministry, shaping the early dynamics of Conklin's upbringing with an emphasis on moral and spiritual discipline. The Conklin home was marked by a violent environment, with reports of the father's abusive behavior toward his wife contributing to ongoing family tensions. This instability culminated in tragedy in 1895, when Conklin was nine years old; his mother, , died after saturating her clothing with and setting it ablaze in the family garden. The coroner's initially ruled the incident a , but the father was charged with and acquitted after trials. Following his mother's death, young Conklin ran away from home multiple times, seeking escape from the turbulent circumstances and his father's influence. By his early teens, he began supporting himself through various odd jobs in , including work as a hotel bellhop in Des Moines and other laborer roles, which provided a practical foundation before he turned toward pursuits. These formative hardships distanced him from his father's religious aspirations and instilled a that later informed his comedic .

Vaudeville and stage beginnings

Conklin drew inspiration for his comedic persona from the renowned vaudeville duo Joe Weber and Lew Fields, whose performance he witnessed in St. Louis, Missouri. This encounter led him to adopt a distinctive character featuring a bushy walrus mustache and a thick-accented demeanor, modeled after his employer at the time—a local figure with similar traits that lent itself to exaggerated physical comedy. His professional career in entertainment began in the early 1900s with vaudeville acts in Des Moines, Iowa, where he honed his skills in comedic timing and stage presence. From there, Conklin progressed to touring with various stock companies, performing in Omaha, Nebraska, and St. Louis, often in small theater roles that emphasized slapstick elements and audience interaction. Conklin's early experiences extended to minstrel shows, where he refined his ability to engage crowds through and movement, as well as brief engagements in circus clowning with the Al G. Barnes Wild Animal Circus, incorporating acrobatic feats and prop-based humor into his routine. These diverse platforms allowed him to develop a versatile style rooted in physicality and , drawing from the chaotic energy of live performance. By around 1912, after years of unstable touring that echoed the independence he had forged by running away from a difficult home life as a youth, Conklin decided to settle in , where his circus troupe wintered in , , seeking a more permanent base amid growing personal commitments.

Film career

Keystone Studios and silent era

Conklin entered the film industry in 1913 when he was hired by at Keystone Studios in Edendale, , debuting in a series of short comedies that showcased his vaudeville-honed style. At Keystone, he quickly became one of the original , a ensemble of bumbling policemen featured in chaotic chase sequences that emphasized rapid-fire , pratfalls, and group dynamics in one-reel films produced at a frenetic pace of up to two per week. In 1914, Conklin began co-starring with in several shorts, including , where he portrayed flustered everyman figures and tramp-like characters entangled in absurd situations involving hotel lobbies, mistaken identities, and physical gags. That same year, he teamed up with the robust Mack Swain to form the "Ambrose and Walrus" duo in 1915, with Conklin as the mustachioed, pompous Walrus opposite Swain's hapless ; the pair appeared in a series of two-reel comedies for , such as The Battle of Ambrose and Walrus and When Ambrose Dared Walrus, blending domestic mishaps, chases, and exaggerated rivalry in plots centered on jealousy and incompetence. Conklin remained a staple at Keystone through the 1910s, contributing to numerous silent shorts that defined the studio's anarchic comedic output. He left the studio in 1920 amid contract disputes with Sennett and transitioned to other production companies, including Corporation and Famous Players-Lasky, where he continued starring in silent comedies and supporting roles, appearing in roughly half of his over 280 total film roles during the silent era.

Key collaborations and character development

Conklin's debut collaboration with Charlie Chaplin occurred in the 1914 Keystone short Making a Living, where he portrayed a scheming rival tramp competing for a young woman's affections, establishing an early dynamic of comedic rivalry between the two performers. This partnership extended through several Keystone productions, including Those Love Pangs (1914), in which Conklin and Chaplin played rivals vying for female attention in a park setting, blending physical chases with situational humor. Later reunions came in Chaplin's sound-era features, with Conklin appearing in bit roles as a mechanic in Modern Times (1936) and as a customer in the barber shop scene of The Great Dictator (1940), providing subtle nods to their shared silent comedy roots. Central to Conklin's on-screen persona was the development of his "" character, a pompous yet bumbling distinguished by a bushy mustache and exaggerated gestures, which he adapted from influences during his early tenure. This archetype, portraying a self-important figure prone to pratfalls and misunderstandings, debuted prominently in shorts like Gentlemen of Nerve (1914) and evolved into a versatile comic foil, later extending to comedies such as Skirts (1921), where the mustache accentuated his pompous demeanor amid chaotic ensemble antics.) The character's inspiration drew from Conklin's observations of a boss with a similar mustache and accent, allowing him to infuse -style verbal tics and physical exaggeration into . A key partnership formed with Mack Swain in the "Ambrose and Walrus" series of Keystone two-reelers starting in , where Swain's affable "" clashed with Conklin's officious "" in domestic and social mishaps, blending verbal sparring with escalation. Exemplified in Ambrose's Sour Grapes (1915), the duo's interplay highlighted Conklin's Walrus as a meddlesome neighbor or rival, using synchronized timing to amplify humor through escalating absurdities like mistaken identities and chases. This collaboration refined Conklin's ability to pivot between bluster and vulnerability, influencing his portrayals in over a dozen shorts that year alone. Conklin's guest appearances in Roscoe "Fatty" Arbuckle's films further honed his ensemble comedy skills, as seen in The Masquerader (1914), where he supported Arbuckle's lead in a theater-disguise , contributing to the film's rapid-fire sight gags and group physicality. In Tango Tangles (1914), Conklin appeared as a costumed guest amid Arbuckle's band-leader chaos, refining his timing in multi-actor sequences that emphasized collective disruption over solo spotlight. These roles, often uncredited but integral, allowed Conklin to adapt his Walrus traits to Arbuckle's broader, more boisterous style, enhancing the formula of synchronized ensemble timing.

Transition to sound and later roles

As the era gave way to talking pictures in the late 1920s, Chester Conklin successfully adapted by leveraging his established walrus-mustache persona in early sound comedies, where his translated well to dialogue-driven roles. He appeared in numerous shorts and features, often as a comedic foil, including short Flat Foot Stooges (1938), where he portrayed Fire Chief Kelly in a horse-drawn mishap. In the and , Conklin continued as a in productions, frequently cast in bit parts that highlighted his expressive face and timing. He became part of Sturges's informal stock company, appearing in cameo roles across six of the director's films, such as the "old bum" in (1941), a satirical tale of a filmmaker's quest for authenticity among the downtrodden. These roles, while small, showcased Conklin's ability to add quirky depth to ensemble casts in major studio releases. By the 1950s, advancing age and evolving comedic tastes led to a career slowdown, with Conklin taking fewer film roles, primarily bit parts in Westerns like Never a Dull Moment (1950) and (1952), as well as occasional television appearances, including a regular role in the short-lived series Doc Corkle (1952). To supplement income, he worked seasonally as a department store in during the holiday periods. In the late 1950s and 1960s, he resided at the Motion Picture Country House in Woodland Hills, California, a facility for industry veterans. Conklin's final screen appearance came at age 80 in the A Big Hand for the Little Lady (1966), playing an old man in a during a high-stakes poker game. Over his six-decade career, he amassed more than 280 film credits, half in the silent era and the rest bridging into sound.

Personal life

Marriages and relationships

Chester Conklin's first marriage was to Minnie V. Goodwin in 1913. The union lasted until their divorce on April 12, 1933, spanning approximately 18 years and nine months. In March 1933, Goodwin filed for divorce in , citing Conklin's alleged coldness and indifference. Following the divorce, Conklin married Margherita Rouse on May 5, 1934, in , . Rouse, who suffered from severe that left her nearly paralyzed and wheelchair-bound, received medical care from Conklin that enabled her to walk for the first time. The marriage ended with Rouse's death on May 14, 1937, at age 44. Conklin's third marriage was to Valda C. Genessee in 1949. Little is documented about Genessee's background, and the marriage ended sometime before his next marriage in 1965. In 1965, Conklin wed Catherine June Ayres Gunther, a former actress, on June 23 in , . The couple met while both were residents at the Motion Picture Country Home. This fourth marriage lasted until Conklin's death in 1971. Conklin had no children from any of his marriages.

Residence and final years

Conklin relocated to in the winter of while his circus troupe was wintering in , , where he secured employment with Mack Sennett's Studios, marking the beginning of his film career and allowing him to establish a more stable base in the burgeoning area. During the height of his career in the era, he resided in modest accommodations in , including a craftsman bungalow near the at 1235 West 41st Street. As his career waned in the mid-20th century amid the transition to sound films and changing industry demands, Conklin experienced financial difficulties and relied on a pension from the . In his later years, he moved to the in Woodland Hills, , a retirement facility for industry veterans, where he lived during the 1960s. There, at age 79, he married fellow resident June Gunther in in 1965. Conklin's health declined due to general effects of advanced age, though he continued occasional acting roles and even worked as a department store Santa Claus in Los Angeles to supplement his income. He passed away on October 11, 1971, at the age of 85, from natural causes at the Motion Picture & Television Country House in the Van Nuys area of Los Angeles. Following cremation, his ashes were scattered at sea.

Legacy

Recognition and honors

Chester Conklin received a star on the for his contributions to motion pictures, dedicated on February 8, 1960, and located at 1560 Vine Street in Hollywood. During the 1950s and 1960s, Conklin's work as a Keystone Kop was featured in nostalgic compilation films and television broadcasts that revived interest in silent-era , romanticizing the chaotic antics of the early Studios productions. He appeared as himself on the To Tell the Truth on April 16, 1957, where he was identified as an original Keystone Cop, highlighting his enduring recognition among audiences and panelists including and . Conklin did not receive any during his career, which spanned over 280 films primarily in the silent era. However, he was acknowledged in film histories as a pioneer of comedy, with obituaries and retrospectives describing him as a foundational performer in the two-reel shorts of Mack Sennett's Studios. In his later years, Conklin benefited from industry support through residency at the Motion Picture Country House in the , a for indigent or ailing performers established by the Motion Picture Relief Fund. Posthumously, Conklin has been featured in documentaries on early and referenced in biographies of , with whom he collaborated on films like Dough and Dynamite (); for instance, he is interviewed in Kevin Brownlow's 1968 oral history The Parade's Gone By..., preserving his insights into for later generations.

Influence on film comedy

Chester Conklin played a pivotal role in pioneering the format at Mack Sennett's Keystone Studios, where he served as a core ensemble member in the early . These shorts established chaotic chase scenes as a foundational staple of , characterized by bungling policemen engaging in horseplay, collisions, and frenzied pursuits that amplified comic chaos through rapid pacing and physical absurdity. Sennett's Keystone Kops productions, featuring Conklin alongside performers like and , were groundbreaking for their time and set a template for future comedic structures, influencing the ensemble dynamics and visual gags in subsequent generations of film humor, including modern spoofs of police procedurals. Conklin's development of the "Walrus" character, distinguished by his bushy mustache and often paired with Mack Swain's "Ambrose" in rivalrous scenarios, served as a precursor to the pompous archetype in sound-era . In films such as The Battle of Ambrose and (1915) and When Ambrose Dared (1915), Conklin portrayed an inane, eccentric everyman whose overplayed reactions and physical rivalries with Swain highlighted Keystone's shift toward class-based , emphasizing working-class buffoonery over ethnic stereotypes. This persona's blend of pomposity and vulnerability drew parallels to later characters like Oliver Hardy's in shorts, where the walrus-mustached endured escalating mishaps with exasperated dignity, perpetuating the tradition of visual and performative exaggeration in duo . During the transition from silent films to in the late and , Conklin's expertise in physical humor sustained his relevance, as he adapted Keystone-style to talking pictures through ensemble roles that bridged eras. His broad, expressive gestures and timing in overplaying dramatic beats—techniques honed in melodramas—provided a model for maintaining visual amid , allowing younger performers to integrate silent-era kinetics into formats. Conklin's collaborations, including cameos in Charlie Chaplin's Modern Times (1936) and support in vehicles, exemplified this evolution, ensuring physical gags like pratfalls and chases remained central to even as verbal wit emerged. Conklin's legacy endures in film preservation efforts, where his Sennett-era performances feature prominently in restored compilations that highlight early slapstick's innovations. The National Film Preservation Foundation has preserved shorts like The Village Chestnut (1918), showcasing Conklin's ensemble work, while commercial releases such as the Mack Sennett Collection (2014) include digitally restored films with his contributions, making them accessible for study. Academic analyses of the Sennett period, including examinations of 's chaotic aesthetics, frequently reference Conklin's "Walrus" roles and sequences as exemplars of mass-culture comedy, with modern scholarship extending his influence to stylized physical humor in sketches that echo the formula.

Selected filmography

Silent films

Conklin entered the film industry in 1913, quickly becoming a staple at Keystone Studios, where he honed his comedic persona known as the "Walrus" due to his distinctive mustache and exaggerated expressions. His work during the silent era, spanning from 1913 to 1929, primarily consisted of short comedies that showcased humor, chases, and ensemble antics, often as part of the Keystone Kops or in supporting roles alongside other emerging stars. Over this period, he appeared in numerous silent shorts and features, approximately 140 during the silent era, contributing to the foundational development of American screen comedy through rapid-fire gags and physical performance. One of Conklin's early Keystone shorts was Making a Living (1914), directed by , in which he portrayed a policeman/bum alongside Charlie Chaplin's debut as a scheming con artist in a tale of deception and pursuit. He also appeared in the ensemble comedy Tillie's Punctured Romance (1914), the first feature-length comedy film, directed by , featuring , , and Chaplin. Later that year, he co-starred with in (1914), another production directed by Normand and , where Conklin played the jealous husband whose comedic mishaps trap Normand's character in a hotel lobby farce involving Chaplin's iconic introduction. In 1915, Conklin featured prominently in the Keystone comedy Ambrose's Sour Grapes, directed by Walter Wright, embodying his Walrus persona in a series of mishaps alongside Mack Swain's Ambrose character, highlighting the duo's bungled attempts at romance and revenge in a vineyard setting. By the mid-1920s, Conklin's silent work extended beyond Keystone to independent productions, including the dramatic epic Greed (1924), directed by Erich von Stroheim, where he played a supporting role in the adaptation of Frank Norris's novel McTeague. These films exemplified Conklin's versatility in ensemble comedy, often emphasizing his role as the pompous or hapless authority figure whose plans inevitably unravel.

Sound films

Conklin transitioned to sound films in the early , adapting his walrus-mustached, befuddled persona to spoken dialogue while taking on fewer leading roles and more supporting or uncredited parts as a . Over the course of three decades, he made over 100 appearances in sound films, often in comedies that leveraged his Keystone-era . In Charlie Chaplin's Modern Times (1936, ), Conklin reunited with his former collaborator in a memorable supporting role as a who briefly tangles with the Little Tramp on the factory floor, showcasing his amid the film's satirical take on industrialization. He had a small but fitting bit part in Chaplin's The Great Dictator (1940, United Artists) as a barber's customer, appearing in the Jewish ghetto scenes that highlight the film's anti-fascist message. Conklin served as a comedic foil in the Three Stooges short Flat Foot Stooges (1938, Columbia), playing Fire Chief Kelly, whose outdated horse-drawn fire engine leads to chaotic mishaps with the bumbling trio. Among his ensemble contributions, Conklin appeared uncredited as an old bum in Preston Sturges's Sullivan's Travels (1941, Paramount), blending into the film's roster of character actors to underscore themes of Hollywood excess and social inequality. Later in his career, Conklin made a cameo in the epic adventure Around the World in 80 Days (1956, United Artists), adding a touch of silent-era nostalgia to the star-studded production. His final screen role came in the Western comedy A Big Hand for the Little Lady (1966, Warner Bros.), where he played an old man in a saloon, marking the end of a prolific film career at age 80.

References

  1. [1]
    Chester Conklin - Hollywood Walk of Fame
    Chester Cooper Conklin was an American comedian and actor. He appeared in over 280 films, about half of them in the silent era.
  2. [2]
    Chester Conklin - Silent Era : People
    Born 11 January 1886 in Oskaloosa, Iowa, USA, as Chester Cooper Conklin. Died 11 October 1971 in Van Nuys, California, USA. Married Minnie V. Goodwin, 1913; ...Missing: biography | Show results with:biography
  3. [3]
    Chester Cooper Conklin (1886–1971) • FamilySearch
    His occupation is listed as motion picture actor in Hollywood, Los Angeles, California, United States. He died on 11 October 1971, in Van Nuys, Los Angeles, Los ...Missing: obituary | Show results with:obituary
  4. [4]
    Chester Conklin - Biography - IMDb
    Iowa-born Chester Conklin was raised in a coal-mining area by a devoutly religious father who hoped that his son would go into the ministry.
  5. [5]
    Chester CONKLIN : Biography and movies - notreCinema
    In 1895 their childhood was marked by a family tragedy, their father was charged with the murder of their mother, found burned ... fire and it's a big panic.
  6. [6]
    Pocahontas County Sun Archives, Jul 25, 1895, p. 1
    ... d e a t h of mrs. Phil Conklin which was shrouded in mystery. On j u l y 10 t h e Coroner s j u r y at t h e inquest r e t u r n e d a verdict of suicide by ...
  7. [7]
    Chester Conklin: He Is the Walrus - Travalanche - WordPress.com
    Jan 11, 2013 · Inspired by Weber and Fields, Iowa Conklin started out in vaudeville, minstrelsy, stock companies and with circuses like that of Al G. Barnes.Missing: influence | Show results with:influence
  8. [8]
    CHESTER CONKLIN, SILENT FILM STAR - The New York Times
    Oct 12, 1971 · HOLLYWOOD, Oct. 11 (UPI) —Chester Conklin, a pioneer movie comedian in the slapstick era bf two‐reel silents, died today at the age of 83.
  9. [9]
    Mabel's Strange Predicament (Short 1914) - IMDb
    Rating 5.6/10 (2,139) Mabel's Strange Predicament: Directed by Mabel Normand. With Mabel Normand, Charles Chaplin, Chester Conklin, Alice Davenport. Charlie runs into elegant ...
  10. [10]
    The Battle of Ambrose and Walrus (Short 1915) - IMDb
    The Battle of Ambrose and Walrus: Directed by Walter Wright. With Mack Swain, Chester Conklin, Vivian Edwards, Harry Bernard. Dora, daughter of insurrecto ...Missing: duo | Show results with:duo
  11. [11]
    When Ambrose Dared Walrus (Short 1915) - IMDb
    Rating 5.8/10 (52) Chester Conklin is great at playing Walrus. Other cast members are Mack Swain as Ambrose and Vivian Edwards as Ambrose's wife. Cameo appearances are made by ...Missing: duo | Show results with:duo
  12. [12]
    Chester Conklin - IMDb
    Iowa-born Chester Conklin was raised in a coal-mining area by a devoutly religious father who hoped that his son would go into the ministry.
  13. [13]
    Those Love Pangs - Charlie Chaplin
    Year : 1914; Cast : Production : Keystone; Description : Charlie and Chester Conklin are rivals in the attention of any woman they happen to see together, ...Missing: collaborations | Show results with:collaborations
  14. [14]
    Modern Times (1936) - Turner Classic Movies - TCM
    Chester Conklin. A mechanic. Photos & Videos. View All. Modern Times - Lobby ... Original Music: Charles Chaplin Cast: Charlie Chaplin (A Factory Worker) ...<|separator|>
  15. [15]
    Gentlemen of Nerve (Short 1914) - IMDb
    Rating 5.5/10 (1,011) Gentlemen of Nerve: Directed by Charles Chaplin. With Charles Chaplin, Mabel Normand, Chester Conklin, Mack Swain. Mabel and her beau go to an auto race and ...
  16. [16]
    https://www.silentera.com/people/actors/Swain-Mack.html
  17. [17]
    The Masquerader (Short 1914) - IMDb
    Rating 5.9/10 (1,622) The Masquerader: Directed by Charles Chaplin. With Charles Chaplin, Roscoe 'Fatty' Arbuckle, Chester Conklin, Charles Murray. Charlie is an actor in a film ...
  18. [18]
    FLAT FOOT STOOGES - Three Stooges
    The boys are firemen who still use a horse-drawn fire truck. A salesman named Fred Reardon tries to convice Fire Chief Kelly (Chester Conklin) to buy a ...
  19. [19]
    Sullivan's Travels (1942) - Turner Classic Movies - TCM
    1h 31m 1942 Sullivan's Travels Brief Synopsis Read More A filmmaker masquerades as a hobo to get in touch with the little people.
  20. [20]
    Not Found - The New York Times
    **Summary:**
  21. [21]
    A Big Hand for the Little Lady (1966) - Turner Classic Movies - TCM
    Conklin makes his last film appearance here, billed in the credits as simply "Old Man in Saloon" (whose name just happens to be Chester). And there's a cameo ...
  22. [22]
    CHESTER CONKLIN SUED.; Wife in Los Angeles Asks Divorce ...
    CHESTER CONKLIN SUED.; Wife in Los Angeles Asks Divorce From Film Comedian. Credit...The New York Times Archives. See ...
  23. [23]
    Marguerite Maurine “Marguerita or Beg” Rouse Conklin (1892-1937)
    On May 5, 1934 Marguerite married Chester Cooper Conklin (1886-1971), a silent film actor who was one of Mack Sennett's famed Keystone Kops. Chester provided ...
  24. [24]
    https://www.tcm.com/tcmdb/person/37758%7C31111/Chester-Conklin#bio
  25. [25]
    Chester Conklin - Hollywood Star Walk - Los Angeles Times
    Oct 11, 1971 · Stars. Chester Conklin gained silent screen fame as the Keystone Kop with the walrus mustache. He father had wanted him to become a minister ...
  26. [26]
    On Top of the Heap With Chester Conklin - Paradise Leased
    Jan 12, 2011 · Conklin's journey to screen success began at the age of 11 when he ran away from his native Oskaloosa, Iowa to escape his father's demands that ...Missing: beginnings | Show results with:beginnings
  27. [27]
    Location Motion Picture and Television Country House, CA - Projects
    A list of stars on the Hollywood Walk of Fame who were born or died in Motion Picture and Television Country House, CA.Missing: later life residence burial
  28. [28]
    Chester Conklin (1886-1971) - Find a Grave Memorial
    Chester Conklin Famous memorial. Original Name: Chester Cooper Conklin; Birth: 11 Jan 1886. Oskaloosa, Mahaska County, Iowa, USA. Death: 11 Oct 1971 (aged 85).Missing: obituary | Show results with:obituary
  29. [29]
    On The Keystone Kops - Travalanche - WordPress.com
    Sep 16, 2014 · The Kops have been much romanticized in retrospect, largely as the result of nostalgic compilation films produced in the 1950s and 60s, and ...Missing: 1960s | Show results with:1960s
  30. [30]
    To Tell the Truth - Chester Conklin, original Keystone Cop (Apr 16 ...
    Jun 19, 2015 · Basketball) CONTESTANT #2: Chester Conklin (One of the original Keystone Cops) CONTESTANT #3: Sheila Ledbetter (Producer of England's ...Missing: Kops | Show results with:Kops
  31. [31]
    The parade's gone by ... [2 ed.] - DOKUMEN.PUB
    was a conversation she had recorded with another Keystone veteran, Chester Conklin. Conklin said that he liked working with Chaplin, but that at first he ...
  32. [32]
    Keystone Kops | Encyclopedia.com
    He also worked with dozens of other comic actors, including Ford Sterling (1883–1939), Chester Conklin (1888–1971), Hank Mann (1887–1971), Fred Mace (1878 ...
  33. [33]
    Sennett Defines Slapstick Comedy | Research Starters - EBSCO
    Mack Sennett is a pivotal figure in the history of slapstick comedy, credited with founding Keystone Studios in 1912 after his apprenticeship at Biograph ...
  34. [34]
    Fun Factory: The Keystone Film Company and the Emergence of ...
    Such was the case with the enormous mustache that Chester Conklin sported for his roles as “Mr. Droppington” and “Walrus,” which had formed part of his ...<|separator|>
  35. [35]
    The Village Chestnut (1918) - National Film Preservation Foundation
    Chester Conklin and Louise Fazenda. Having worked onstage and as a circus clown, ...
  36. [36]
    Mack Sennett Collection, Vol. One, The - DVD Talk
    Sep 1, 2014 · ... Chester Conklin, etc.), writers, and directors. Some of these names ... Included are such treasures as A Thief Catcher, a long-lost Keystone Cops ...<|control11|><|separator|>
  37. [37]
    https://www.imdb.com/title/tt0004228/
  38. [38]
    https://www.imdb.com/title/tt0004978/
  39. [39]
    https://www.imdb.com/title/tt0015894/
  40. [40]
    https://www.imdb.com/title/tt0032553/fullcredits/
  41. [41]
    https://www.imdb.com/title/tt0030139/fullcredits/
  42. [42]
    The Great Dictator (1940) - Full cast & crew - IMDb
    The Great Dictator (1940) - Cast and crew credits, including actors ... Chester Conklin · Barber's Customer · Esther Michelson · Esther Michelson · Jewish ...
  43. [43]
    Flat Foot Stooges (Short 1938) - Full cast & crew - IMDb
    Flat Foot Stooges (Short 1938) - Cast and crew credits, including actors ... Chester Conklin · Chester Conklin · Fire Chief Kelly · Lola ...
  44. [44]
    Sullivan's Travels (1941) - Full cast & crew - IMDb
    Chester Conklin · Chester Conklin · Old Bum. (uncredited). Laurence Criner · Laurence Criner · Churchgoer. (uncredited). Frances Curry in A Place in the ...
  45. [45]
    A Big Hand for the Little Lady (1966) - Full cast & crew - IMDb
    A Big Hand for the Little Lady (1966) - Cast and crew credits, including actors, actresses, directors, writers and more.