Flicker Alley was born out of a passion for cinematic history and a desire to bring filmmakers and films from out of the past to new audiences and renewed recognition. The company was founded in 2002 by Jeffery Masino who drew on a lifelong enthusiasm and fascination with silent film as well as classic, experimental and independent cinema. A goal of Flicker Alley is to contribute to the on-going interest in our film heritage through the creation of new, high-quality digital editions for broadcast, steaming and home video distribution.
The Flicker Alley brand has grown to enjoy national and international critical acclaim and is regularly featured in annual “Best Of” lists. The company is a three-time National Society of Film Critics Film Heritage Award recipient for publishing “rare early U.S. and foreign silent film” (2009, 2010, and 2011). The name “Flicker Alley” was the nickname of Cecil Court, London W.C.2., the business center of the British film industry during the silent film era.
A refinement of his earlier comedies set in a film studio, BEHIND THE SCREEN, Chaplin's seventh film for Mutual, lampoons the unmotivated slapstick of the kind Chaplin disliked when he worked for Mack Sennett. Chaplin made the film as a sort of parody of the knockabout, pie-throwing comedy of the Keystone films.
An aspireing actress (Edna Purviance), desperate for work, disguises herself as a boy and is hired at the studio as a stagehand when the regular crew strikes. Charlie, discovering that the new stagehand is in fact a girl, gently kisses her just as Goliath (Eric Campbell) enters. "Oh you naughty boys!" Goliath remarks in an intertitle, as he teasingly pinches their cheeks and dances about in an effeminate manner before offering his backside to Charlie, which Charlie promptly kicks. This curious scene representing a homosexual situation is highly unusual in American commercial cinema for its time.
A refinement of his earlier comedies set in a film studio, BEHIND THE SCREEN, Chaplin's seventh film for Mutual, lampoons the unmotivated slapstick of the kind Chaplin disliked when he worked for Mack Sennett. Chaplin made the film as a sort of parody of the knockabout, pie-throwing comedy of the...