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West, and having done so, gleefully flings a wash cloth onto the door knob and over the The guest apparently knew she was providing entertainment to She scrubs herself with soap, as visible through the keyhole.Īlready, West, seeking comfort for what might be a lenghty “show,” has picked upĪ cushion within the room and positioned it such that he can sit on it while stationed Once he is on the other side of the door. She firmly closes the door, but he doesn't continue outward He gleefully empties the buckets into the tub, after which she stretches out one arm to Only after she has reached that room does he lift the buckets to Billy watches her body from behind as it sways en route to the door That she knows the taking of the bath is near, she directs herself to the bath room within Has requested a bath, so he brings two buckets of water, of which the guest takes notice. West has been summoned to the room with the tub. The hotel that is the setting of this comedy seems to have only one. Reproduced will prove, Billy West obtained laughs by means that might surprise those whoīelieve that naked bodies came to be part of film comedy only in recent decades.Ī title tells us how uncommon bathtubs are in the town. These long before the teaming that formed Laurel & Hardy.) As the frames (TheseĪctively-slapstick humor-fests provided comic training for Oliver Hardy, who appeared in Billy WestĮnjoyed several years of success headlining two-reel comedies, several consecutive yearsĪs an imitator of Charlie Chaplin regarded as the best in a crowded field. To voyeurism — and this time the cinema audience saw much more. One Week, another comedian had subjected another bathtub and another leading lady Three years before Buster Keaton directed and starred in Two-reel comedy aimed at a general mass audience and starring a famous comedian.” Their reaction might be, “There’s not going to be any nudity in a The Chief Cook ( 1917) Some visitors to this web site, in examining the frames and descriptionįor One Week (above), may wonder why anyone would even anticipate nudity in thatĬomedy. That she shattered the illusions of verisimilitude usually delivered in theatrical Sybil acknowledges the audience, as if to beg its pardon for a moment She is about to retrieve the soap, but she is aware that her privacy isĬompromised by being a character in a film.Īt her hint, a member of the filmmaking crew places his hand over theĬamera lens and removes it once the delicate moment has passed. Sybil Sealey is washing herself when she drops the soap. One is just exiting at rear another is barely Isle of Love ( 1918): decadent restaurant patrons enjoy the They seem ill-prepared to deal with the crisis.

When the walled community is invaded by an outside army, the cloistered One woman of the harem is admired by some of the others. Griffith, harem women enjoy theirĪ young woman taking a bath enjoys splashing the water. Truth, in the last moments of the film, returns to the woods where we

Here, a family’s reaction to a newborn baby is overseen by Truth. Truth looks into a mirror, bringing other events into and out ofįocus. (in robes, at rear) is aware that Truth is present. Truth is present when a man courts a woman. Here, “Truth” comes from hiding and will shortly be an unseen Shock and outrage are the most common reactions. Their minister has put up a statue representing Truth. She continued to promote religious values thereafter, The Hypocrites ( 1914) Director Lois Weber had been a street-corner evangelist prior to entering