W. Fields Criticism
W. C. Fields, born William Claude Dukenfield in 1879, emerged as a distinctive figure in American comedy during the 1930s and 1940s. Known for his cynical, misanthropic persona, Fields' comedic style diverged from the era’s prevalent lightheartedness. He typically portrayed characters such as the beleaguered husband or the crafty con man, often showcasing a disdain for authority and societal norms. His notable films include The Old-Fashioned Way (1934), It's a Gift (1934), and The Bank Dick (1940). Fields’ role as Mr. Micawber in the 1935 production of David Copperfield highlighted his physical comedy, characterized by his bulbous nose and raspy voice.
Fields' career began in vaudeville, where he achieved fame as a juggler before transitioning to comedy. By the early 20th century, he had performed internationally, including at Buckingham Palace, and became a Broadway star. His move into film coincided with the advent of sound cinema in 1930, allowing his distinctive voice and comedic timing to flourish. Fields' film career was complemented by a successful stint in radio, noted for his humorous "rivalry" with Charlie McCarthy, the dummy of ventriloquist Edgar Bergen.
Despite a challenging childhood, Fields' humor was deeply rooted in personal adversity, a theme explored by Edward L. Galligan. His comedic legacy, often likened to Shakespeare's Falstaff, as noted by Wes D. Gehring, has grown posthumously. Fields’ influence on comedic cinema and radio continues to be celebrated, as discussed by critics like Leonard Maltin, who noted that Fields' satire resonates well with modern audiences. Fields passed away on December 25, 1946, leaving behind a legacy of comedic brilliance and societal critique, as analyzed by Hugh Kenner.
Contents
- Principal Works
- Major Works
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Essays
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Ballyhoo
(summary)
In the following essay, Broun offers his appraisal of Fields's performance in the film Ballyhoo.
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W.C. Fields
(summary)
In the following essay, Priestly eulogizes Fields.
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The One and Only
(summary)
In the following essay, Corey Ford offers a personal and humorous recollection of W. C. Fields, portraying him as a unique comic genius whose offstage personality and storytelling were even more amusing than his performances, characterized by a distinctive voice, extravagant language, and a deeply ingrained distrust of authority figures.
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The Confidence Man
(summary)
In the following essay, Kenner presents Fields as a critic of the society in which he lived.
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Suckers and Soaks
(summary)
In the following essay, Raymond Durgnat contrasts the careers and comedic approaches of W. C. Fields and Mae West, highlighting their shared origins in vaudeville and their subversive critiques of societal norms, with West's humor rooted in libertarian defiance and Fields' comedy marked by a sour, slapstick pessimism.
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W. C. Fields
(summary)
In the following essay, Maltin contrasts Fields's popularity with modern audiences to his original reception, arguing that Fields's comedic style, once unpopular for its departure from conventional humor, now resonates as classic satire, exemplifying his unfiltered comedic vision as seen in his influential two-reel shorts with Mack Sennett.
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The Latter-Day Falstaff
(summary)
In the following essay, Donald W. McCaffrey examines W.C. Fields's evolution from vaudeville juggler to preeminent sound era comedian, highlighting his multifaceted comic persona comparable to historical figures like Falstaff, while analyzing his film roles that showcase his humor and impact despite initial limited creative control.
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Toward the Black Pussy Cafe
(summary)
In the following essay, Sheed presents Fields in an unsentimental light, and faults Ronald Fields for his attempts to sanitize his grandfather's autobiography.
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In Search of the Grampian Hills with W.C. Fields
(summary)
In the following essay, Prior explores the origins of a line from You Can't Cheat an Honest Man, in which Fields refers to 'the Grampian Hills.'
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Never Give a Sucker or Yourself an Even Break
(summary)
In the following essay, Galligan examines Fields's psychohistory, with emphasis on ways that Fields overcame the misery of his childhood and the self-pity that might have arisen from it.
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Fields and Falstaff
(summary)
In the following essay, Gehring equates Fields's persona with that of Shakespeare's Falstaff.
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W.C. Fields: The Copyrighted Sketches
(summary)
In the following essay, Gehring provides a review of two dozen short comic sketches written and copyrighted by Fields during a twenty-year period.
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Ballyhoo
(summary)
- Further Reading