Abandoned By Hollywood
A Truly American Scandal
Mack Sennett recalled meeeting him: "A tremendous man skipped up the steps as lightly as Fred Astaire. He was tremendous, obese --- just plain fat. 'Name's Arbuckle,' he said, 'Roscoe Arbuckle. Call me Fatty! I'm with a stock company. I'm a funnyman and an acrobat. But I could do good in pictures. Watcha think?' With no warning he went into a featherlight step, clapped his hands, and did a backward somersault as graceful as a girl tumbler."
Adela Rogers St. Johns remembered the early days in Hollywood
like this: "Everybody loved everybody. There were love affairs going on, and
everybody had an excitement about the whole thing that I've never seen since.
None of us knew even vaguely what we were doing. None of us knew what this
picture business had come to; the greatest form of art and entertainment the
world has ever known was put together there for awhile. It didn't last long but
it was great, and here we were, right in the middle of the goldfish bowl, with
everybody beginning to look at us."
By 1921 Roscoe "Fatty" Arbuckle was one of the highest paid actor/directors in
the motion picture business. But on September 5 of that year, during a weekend
party he was throwing at the Saint Francis Hotel in San Francisco, the water in
the goldfish bowl turned murky. Virginia Rappe (Rap-pay), a girl attending the
party, ran screaming from a bedroom, took sick and died four days later.
On September 17 Roscoe Arbuckle was arraigned in San Francisco charged with the
rape and murder of Virginia Rappe. The legendary producer, Adolph Zukor (who
footed the legal bill) tried to bring in the great trial lawyer, Earl Rogers,
father of Adela, but Rogers was in ill health and couldn't take the case.
Adela remembered her father speaking to her about Fatty's plight, "They will
make it very tough on him, because of his weight. A man of that enormous fatness
being charged with the rape of a young girl will prejudice them, even just the
thought of it."
Virginia Rappe
Indeed, they made it very tough on the fat man. As Kevin
Brownilow puts it in Hollywood: The Pioneers:
"District Attorney Matthew Brady ... must have been
beside himself. An intensely ambitious man, he planned to run for governor. Here
presented to him in the most sensational terms, was the scandal of the
century-an apparent open and shut case."
The ambitious Mr. Brady had a very helpful ally in William Randolph Hearst ---
the undisputed champion of yellow journalism. Early director, and friend of
Arbuckle's, Viola Dana recalled,
"Hearst was instrumental in wanting the motion picture
industry in Northern California (i.e. San Francisco), and instead it settled in
Southern California. I think that was part of his motive in crucifying
Arbuckle."
Hearst crucified Arbuckle for another reason --- circulation ... Hearst was
gratified by the Arbuckle scandal; he said later that it had "sold more
newspapers than any event since the sinking of the Lusitania."

St. Francis Hotel
The ugliest twist, one many people are unaware of, is that
Arbuckle was completely innocent. He was set up by a venal woman named Maude
Delmont, known as "Madame Black." Delmont would provide girls for parties and
then have the girl claim she was raped by a prominent director or producer.
Concerned about his career, the victim would submit to Delmont's request for
money to keep the story out of the press. When Rappe died a few days after the
party, from a condition unrelated to the events at the St. Francis Hotel,
Delmont gave Fatty Arbuckle's name to the police.
Arbuckle's wife stuck by him throughout the trial --- such was the public's
scorn that she was shot at while entering the courthouse --- but the producers
in Hollywood forbade his movie friends to testify on his behalf fearing that
their careers would be besmirched and that the scandal would cut into profits.

Some Images of Roscoe
After two trials resulted in hung juries, Fatty was acquitted at
the third, with a written apology from the jury --- an apology unprecedented in
American justice.
"Acquittal is not enough for Roscoe Arbuckle [they
wrote]. We feel that a great injustice has been done him ... there was not the
slightest proof adduced to connect him in any way with the commission of a
crime. He was manly throughout the case and told a straightforward story which
we all believe. We wish him success and hope that the American people will take
the judgement of fourteen men and women that Roscoe Arbuckle is entirely
innocent and free from all blame."
It was, of course, too little too late. Will Hays, the ex-Postmaster General,
had been installed as a kind of overlord-Pope charged with cleaning up the
movies for America. As Arbuckle faced his second trial, so Brownlow puts it in
his book:
Hays went into a sort of metaphorical desert to consult
with his conscience ... On April 19, 1922 Will Hays made the first major policy
decision of his new job. He banned Roscoe Arbuckle from the screen.
Roscoe Arbuckle's career was decimated. The funnyman who'd done handsprings down
the steps to introduce himself to Mack Sennet; the fat man who'd two years
earlier signed a contract with Adolph Zukor for the astronomical sum of one
million dollars a year; the director who'd acted as mentor to his friend Buster
Keaton, would never rise again. A scandal fueled entirely by innuendo had been
hideously successful. Fatty's time was past.

Maude Delmont
Arbuckle worked as a director, under another name, on several
films after the trials. Keaton suggested he use the name Will B. Good, he did
... almost. Louise Brooks told Kevin Brownlow about working with Arbuckle at
that time.
He was working under the name William Goodrich. He made
no attempt to direct this picture. He sat in his chair like a dead man. He had
been very nice and sweetly dead since that scandal had ruined his career. It was
such an amazing thing for me to come in to make this picture and to find my
director was the great Roscoe Arbuckle. Oh, I thought he was magnificent in
films. He was a wonderful dancer --- a wonderful ballroom dancer, in his heyday.
It was like floating in the arms of a huge doughnut --- really delightful.
Arbuckle died a few years later.
In the short history of the motion picture, Fatty Arbuckle is of central
importance. His coat and hat were borrowed by a young Charlie Chaplin to create
a character that became an American icon. He was a very close friend of Buster
Keaton's and is credited with singlehandedly sheparding Keaton's early film
career. That Arbuckle is usually conceived as a minor figure stands as testament
to the power of the vendetta directed at him.
"Oh, we kept having scandals right along," said Adela
Rogers St. Johns. "If you throw into one small town and one small industry, the
people who can impress the world with their drama, their sex appeal, with their
lovemaking, with all of the big emotional dramatic things that can happen, and
you put them all together in one little bowl, you're going to have some
explosions. I'm only surprised we had so few."

Some Images of Roscoe
In His Own Words - Roscoe On The Scandal
The hardest thing I have ever done in my life was to keep still
for the twelve weeks between September 10th, when I heard that Virginia Rappe
had died in a San Francisco hospital, and November 28, when I went on the
witness stand to tell my story for the first time.
As soon as I was told that I was being held responsible for Miss Rappe's death
and that I would have to clear myself in the eyes of a jury and of the world, I
wanted to tell the truth. No one but myself could tell the whole truth of the
affair, for no one else knew. Other people knew part of the story, and some of
them thought that they knew a great deal more than they really did, but I alone
could tell everything.
However, I realized that my attorneys knew best and that if I spoke too soon
there would be danger of hurting my case and that the wisest thing would be to
keep silent until the right time came to speak. So although I did not look
forward with any pleasure to going on the witness stand--no man likes to have to
defend himself against charges that he knows are unjust--I was really glad that
at last the chance had come to let the whole world know that I was not guilty of
the crime charged against me.
I did not hurt Virginia Rappe in any way whatever. I never had any intention of
hurting her. I would not hurt any woman.
Whatever motive inspired the people who accused me, it was not knowledge that I
had done the thing they said I did. It seems almost impossible to me that anyone
could be so cruel and malicious as to make such terrible charges against a man
without the most positive proof to support those charges, and yet that is what
happened.
I was accused of saying and doing things that never entered my mind, and not
only that, but things I did say and do were twisted and misinterpreted until
they sounded very different from the truth.
People have talked about me as entertaining a gay party in my rooms at the hotel
that day. It has been referred to again and again as the "Arbuckle party."
It wasn't my party at all. The only person who came to those rooms that day at
my invitation was Mrs. Mae Taube, with whom I had made an engagement to go
driving in the afternoon.
Other people invited all the other guests. Most of the guests I had never seen
before that afternoon. Miss Rappe came at the invitation of Fred Fishback, and
he invited her at the suggestion of Ira Fortlouis, who had seen the girl and
thought she would do for a model. Mrs. Delmont came with Miss Rappe. I really
don't know how the others happened to come. The first thing I knew, they were
there, and that was all there was to it.
I had arisen that morning about 11 o'clock, and had put on my pajamas, bathrobe
and slippers. If I had had any idea that people were coming to the rooms, I
certainly would have changed my clothes, but, as I say, the people simply walked
in. When they were there, they made themselves at home, went back and forth
between the rooms, and I had no time to dress. I hadn't invited them, but they
were in my rooms, and I couldn't be rude.
There were three rooms in the suite, 1219, 1220 and 1221. The sitting room was
1220, and the other two were bedrooms, one on each side of the sitting room.
Most of the time the people stayed in 1220, but they went into the other rooms
whenever they wanted to.
Early in the afternoon I saw Virginia Rappe go into Room 1221. I did not see her
come out again. It was almost time for my automobile to arrive, and so I went
into Room 1219, which was my bedroom, intending to dress. I had no idea that
there was anybody in the room.
I closed the door into 1220 and locked it, because the people were going back
and forth between the rooms, and I wanted to keep them out while I was dressing.
I went straight to the bathroom, and as I opened the door, it struck against
something. I pushed in, and saw Miss Rappe lying on the floor, clutching her
body with both hands and moaning. Of course, I thought right away that she was
ill, and my first thought was to help her.
As quickly as I could, I picked her up from the floor and held her while she
suffered an attack of nausea. She seemed to be very sick, but she had been
drinking some liquor, and I thought that was the trouble.
And by the way, the liquor which was served that afternoon was not mine. All I
know about it is that Fred Fishback went to the closet in Room 1221 and brought
out a couple of bottles of Scotch whiskey and a bottle of gin. Some orange juice
and seltzer were sent up from downstairs, and everyone helped himself to drinks.
Miss Rappe drank gin and orange juice, about three drinks.
As soon as Miss Rappe was able, I helped her out into the room. She said
something about wanting to lie down, and I set her on the edge of one of the
beds. She lay down, and I lifted her feet to the bed and left her there for a
minute, as I thought that she was simply ill from too much liquor and would be
all right if she could lie quietly.
I stepped out of the room for a minute, and when I came back, Miss Rappe was
lying on the floor between the two beds, again clutching her body and moaning.
All this time she said nothing that I could understand, just moaned and seemed
to be in pain.
I picked her up and laid her on the bed. Then I went out into 1220, and found
Zey Prevost [Prevon] there.
I said: "Virginia is sick" and Miss Prevost went into Room 1219.
Mrs. Delmont was not in 1220 when I came out. I know that she has said and Miss
Prevost has testified that they knocked at the door from 1220 into 1219, and
Mrs. Delmont has insisted that she kicked as well as knocked, but I never heard
a sound, and when I came out to get somebody to help Miss Rappe, Mrs. Delmont
was not in sight.
She came in a moment later from Room 1221, and went into Room 1219 with Miss
Prevost.
I followed them into the room, and saw Miss Rappe sitting on the bed, tearing at
her clothing. She had both hands gripped in her waist, and was ripping it to
shreds, gritting her teeth and making noises. She tried to tear the green jacket
she was wearing, but she could not tear it. Then she took hold of her stockings
and garters and ripped them off.
I told Mrs. Delmont and Miss Prevost to make Miss Rappe stop tearing her
clothing, but she wouldn't stop. She acted like a person in a terrible temper,
almost beside herself. She didn't scream or say anything, just moaned and tore
at her garments.
One sleeve of her waist was hanging by a thread. I thought perhaps the best
thing would be to try to quiet her instead of opposing her, so I sent over to
her and took hold of the sleeve, and pulled it off, saying: "All right, if you
want it off, I'll help you." All I meant was that she seemed in an
uncontrollable spasm of some kind, and I was afraid that if tried to argue with
her, she might hurt herself.
After that I went out of the room, and when I came back a little later, Miss
Rappe was lying unclothed on the bed and Mrs. Delmont was rubbing her with a
piece of ice. I picked up a piece of ice that was lying on Miss Rappe's body,
and asked Mrs. Delmont what was the idea. It seemed to me pretty dangerous
treatment for anybody but a doctor or a nurse to try.
Mrs. Delmont turned on me angrily and told me to shut up and mind my own
business--that she knew how to take care of Virginia. It made me angry, for all
I wanted to do was to help the sick girl, and Mrs. Delmont was talking to me in
a way I didn't like, so I told her to shut up or I would throw her out of the
window. Of course, I wouldn't really have done it; it was just one of those
things one says in a moment of anger without any idea of literal meaning.
That is an example of how things I really did say have been twisted and turned
against me. It has been made to sound as if I had said that to Virginia Rappe
while she lay there suffering and ill. I said it, but I certainly did not say it
to Miss Rappe, nor did I mean her when I said it. I would have been a brute to
have spoken to a sick girl like that.
I realized by that time that Miss Rappe was probably more seriously ill than I
had thought, and should have a room to herself, so I went back into the other
rooms and asked Mrs. Taube to telephone to the manager of the hotel and ask for
another room. The manager came up in a few minutes, and told us where we might
take Miss Rappe.
We rolled her up in a bathrobe--she had been lying nude on the bed all this
time, and uncovered except after I had managed to pull the spread out from under
her and cover her with it. Then I took her in my arms and started down the hall
toward the other room. When I was nearly there, she started to slip from my
arms; she was limp and half-conscious, and very hard to hold. I asked the hotel
manager to lift her up a little, but he took her in his arms and carried her
into the room.
After she was put to bed, I told them to get a doctor, and then I went back to
my rooms.
I did not know that Virginia Rappe was even seriously ill until I got word of
her death. I went back to Los Angeles the next day, because I had reservations
on the steamer for my party and my car. There was never any thought in my mind
that Miss Rappe was suffering from anything more than the effects of too much
liquor or an attack of slight illness. The news of her death was my first
intimation that it was serious.
The State's witnesses have testified that they heard screams coming from my
rooms. I know that all afternoon the window was wide open, and any sound louder
than an ordinary conversation could have been heard without any difficulty; and
people who occupied adjoining rooms have declared that they heard nothing.
They have made a great deal out of some finger prints that were found on the
door of Room 1219--the door that lead into the hallway. Experts have tried to
show that the prints must have been made by Virginia Rappe's fingers and mine,
and that when they were made, her hand was against the door and I was trying to
drag it off.
I don't know where they get such ideas. There seemed to be marks on the door
when it was brought into the courtroom, but I certainly did not put them there.
I am positive that I never touched that door with my hand all day, as I had not
gone out into the hallway, but only into the other rooms of the suite. Certainly
I never touched it in the way they said I did. It's a mystery to me.
Jesse Norgaard, who said he was a janitor at the Culver City studios when Miss
Rappe and I were both working there, testified that once I asked him for the
keys to her rooms, saying that I wanted to play a joke on her. I suppose the
idea was to show that I tried to force myself into her room when she didn't want
to let me in.
That is absolutely false. I never made any such request of Norgaard, nor did I
offer him money for the keys, as he said I did. In fact, when I saw Norgaard on
the witness stand, I couldn't remember ever having seen him before. He may have
been at the studios, but there were so many people there that I couldn't
remember them all.
All this talk of my having been infatuated with Miss Rappe or trying to "get
her," is absurd. I knew her for several years; we had worked at the same
studios, and I had met her in other places, but that was absolutely all.
I knew when I went on the witness stand that my cross-examination was going to
be as rigid as it could be made, but I had no fear, for I was telling nothing
but the truth. I know that the lawyers tried many times to catch me on details,
but they couldn't, because everything I said was true, and there was no need to
remember what I had said the first time.
No man can do any more than to tell the truth, and it was the truth I told on
the witness stand.
A great many very harsh and unjust things have been said about me since this
affair began and they have hurt me very much. I have always had many friends,
but I found when this trouble came, who my real friends were.
It has hurt me deeply to think that the people to whom I have tried to give good
clean enjoyment for so many years could turn on me and condemn me without a
hearing. I suppose every man accused of crime must expect that, but it didn't
make it any easier for me.
I have been very grateful to the other people who refused to believe that I was
guilty merely because I was accused of crime. There have been many of them. I
have received many many letters and telegrams from people all over the country,
assuring me that they believed in me, and I am glad to know that I have these
real friends.
If everything is straightened out at last and I am cleared of all the charges, I
hope that these friends will be as ready to welcome me back on the screen as I
shall be glad to get back. I like to make people laugh and enjoy themselves. It
pleases me because children are amused at my pictures, and I have always tried
very hard not to do anything in any picture that would offend or be bad for the
children.
One really good thing has come out of all this trouble. It has been the means of
reuniting my wife and myself after five years of separation. We are happy to be
together again, and we have discovered that the things that kept us apart were
very unimportant after all.
Mrs. Arbuckle has been wonderfully loyal to me during all this trouble. She came
all the way across the continent to be with me, and every minute she has stuck
by me. Her faith and love, and the faith and love of her mother, who is like a
mother to me, have been my greatest helps all these long hard weeks.
While, through the technicalities of the law, I have not been legally acquitted
of the charge of manslaughter in connection with the death of Virginia Rappe, I
have been morally acquitted.
After the organized propaganda, designed to make the securing of an impartial
jury an impossibility and to prevent my obtaining a fair trial, I feel grateful
for this message from the jury to the American people. This comes, too, after
hearing only part of the facts, as the efforts of the District Attorney
succeeded, on technical objections, in excluding from the jury the statements
from Miss Rappe to several people of high character, completely exonerating me.
The undisputed and uncontradicted testimony established that my only connection
with this sad affair was one of merciful service, and the fact that ordinary
human kindness should have brought upon me this tragedy has seemed a cruel
wrong. I have sought to bring joy and gladness and merriment into the world, and
why this great misfortune should have fallen upon me is a mystery that only God
can, and will, some day reveal.
I have always rested my cause in a profound believe in Divine justice and in the
confidence of the great heart and fairness of the American people.
I want to thank the multitude from all over the world who have telegraphed and
written to me in my sorrow and expressed their utmost confidence in my
innocence. I assure them that no act of mine ever has, and I promise them that
no act of mine ever shall cause them to regret their faith in me.
Roscoe Arbuckle
December 31, 1921
MOVIE WEEKLY

Roscoe and His Comique Company, and Directing the Film
"Moonshine"
Fatty Arbuckle Filmography
Tomalio (1933)
Close Relations (1933)
How've You Bean? (1933)
Buzzin' Around (1933) .... Cornelius
In the Dough (1932)
Hey, Pop! (1932) .... Fatty, chef
Go West (1925) (uncredited) .... Woman in department store
Sainted Devil, A (1924)
Hollywood (1923) .... Cameo appearance
Fast Freight, The (1921/II)
Leap Year (1921) .... Stanley Piper
Crazy to Marry (1921) .... Dr. Hobart Hupp
Gasoline Gus (1921) .... Gasoline Gus
Traveling Salesman (1921) .... Bob Blake
Dollar a Year Man (1921) .... Franklin Pinney
Brewster's Millions (1921) .... Monte Brewster
Life of the Party (1920) (as Roscoe Arbuckle) .... Algernon Leary
Round-Up, The (1920) .... Slim Hoover
Garage, The (1919) .... Mechanic/Fireman
Hayseed, The (1919) .... Mailman
Back Stage (1919) .... Stagehand
Desert Hero, A (1919)
Love (1919) .... Farm Boy
Cook, The (1918) .... Chef
Good Night, Nurse! (1918) .... Fatty
Moonshine (1918) .... Revenue Agent
Bell Boy, The (1918) .... Bellboy, barber
Out West (1918) .... Train Rider, Bartender
Country Hero, A (1917) .... Village Blacksmith
Coney Island (1917) .... Fatty
Oh Doctor! (1917) .... Dr. Fatty Holepoke
His Wedding Night (1917) .... Drugstore soda clerk
Rough House, The (1917) .... Mr Rough
Reckless Romeo, A (1917) .... Husband
Butcher Boy, The (1917) .... Butcher Boy
Creampuff Romance, A (1916)
Fatty and Mabel Adrift (1916)
He Did and He Didn't (1916)
His Wife's Mistakes (1916)
Other Man, The (1916) (as Roscoe Arbuckle)
Waiters' Ball, The (1916) .... The Cook
Bright Lights (1916)
Colored Villainy (1915)
Fatty and Mabel at the San Diego Exposition (1915)
Fatty's Chance Acquaintance (1915)
Fatty's New Role (1915)
Fatty's Plucky Pup (1915)
Fatty's Reckless Fling (1915)
Fickle Fatty's Fall (1915)
Hogan's Romance Upset (1915)
Love in Armor (1915)
Mabel and Fatty's Married Life (1915)
Mabel and Fatty's Simple Life (1915)
Mabel and Fatty's Wash Day (1915)
Mabel's Wilful Way (1915)
Rum and Wall Paper (1915)
Village Scandal, A (1915)
When Love Took Wings (1915)
Wished on Mabel (1915)
Fatty and the Broadway Stars (1915)
Fatty's Tintype Tangle (1915) .... Fatty
Little Teacher, The (1915) .... Fat Student
Miss Fatty's Seaside Lovers (1915) .... Daughter
That Little Band of Gold (1915) .... Hubby
Fatty's Faithful Fido (1915)
Mabel, Fatty and the Law (1915) .... Fatty
Among the Mourners (1914)
Baggage Smasher, The (1914)
Caught in a Flue (1914)
His New Profession (1914) .... Bartender smoking cigar
Killing Horace (1914)
Mabel's Strange Predicament (1914)
Our Country Cousin (1914)
Fatty and Minnie He-Haw (1914)
Fatty's Magic Pants (1914) .... Fatty
Shotguns That Kick (1914)
Leading Lizzie Astray (1914)
Sea Nymphs, The (1914)
Fatty's Wine Party (1914)
Fatty's Jonah Day (1914)
Incompetent Hero, An (1914)
Lovers' Post Office (1914)
Zip, the Dodger (1914)
Their Ups and Downs (1914/I)
Fatty Again (1914)
Fatty's Debut (1914)
Lover's Luck (1914)
Rounders, The (1914) .... His Neighbor
Brand New Hero, A (1914)
Masquerader, The (1914) .... Film Actor
Fatty's Gift (1914)
Those Country Kids (1914)
That Minstrel Man (1914)
Those Happy Days (1914)
Sky Pirate, The (1914)
Rowboat Romance, A (1914)
Love and Bullets (1914)
Fatty's Finish (1914)
Fatty and the Heiress (1914)
Knockout, The (1914) .... Pug
Alarm, The (1914)
Water Dog, The (1914)
Suspended Ordeal, A (1914)
Bath House Beauty, A (1914)
Chicken Chaser (1914)
Barnyard Flirtations (1914)
Rural Demon, A (1914)
His Favorite Pastime (1914) .... Shabby drunk
Tango Tangles (1914) .... Clarinettist
Film Johnnie, A (1914) .... Fatty
Twixt Love and Fire (1914)
Robust Romeo, A (1914)
Rebecca's Wedding Day (1914)
In the Clutches of the Gang (1914)
Flirt's Mistake, A (1914)
Under Sheriff, The (1914)
Misplaced Foot, A (1914)
He Would a Hunting Go (1913)
His Sister's Kids (1913)
Fatty's Flirtation (1913)
Ride for a Bride, A (1913)
Woman Haters, The (1913)
Fatty Joins the Force (1913) .... Fatty
Wine (1913)
Fatty at San Diego (1913) .... Fatty
Speed Kings, The (1913) .... Race track official
Quiet Little Wedding, A (1913)
Two Old Tars (1913)
Fatty's Day Off (1913)
Mother's Boy (1913)
When Dreams Come True (1913)
Faithful Taxicab, The (1913)
Gypsy Queen, The (1913)
Mabel's Dramatic Career (1913) .... Man in cinema audience
Mabel's New Hero (1913)
Riot, The (1913)
Almost a Rescue (1913) .... Jimmie
Professor Bean's Removal (1913)
Love and Courage (1913)
Noise From the Deep, A (1913)
Telltale Light, The (1913)
For the Love of Mabel (1913)
Bandit, A (1913)
Peeping Pete (1913)
Waiters' Picnic, The (1913)
Passions, He Had Three (1913)
Gangsters, The (1913)
Alas! Poor Yorick! (1913) (as Roscoe Arbuckle)
Help! Help! Hydrophobia! (1913)
Voice from the Deep, A (1912)
Sanitarium, The (1910) (as Roscoe Arbuckle)
Making It Pleasant for Him (1909) (as Roscoe Arbuckle)
Mrs. Jones' Birthday (1909) (as Roscoe Arbuckle)
Ben's Kid (1909) (as Roscoe Arbuckle)
Rival Demon, The (????)
As Director
Bridge Wives (1932) (as William Goodrich)
Gigolettes (1932) (as William Goodrich)
Hollywood Luck (1932) (as William Goodrich)
It's a Cinch (1932) (as William Goodrich)
Keep Laughing (1932) (as William Goodrich)
Niagara Falls (1932) (as William Goodrich)
Anybody's Goat (1932) (as William Goodrich)
Moonlight and Cactus (1932) (as William Goodrich)
Back Page, The (1931) (as William Goodrich)
Beach Pajamas (1931) (as William Goodrich)
Ex-Plumber (1931)
Honeymoon Trio (1931) (as William Goodrich)
Lure of Hollywood, The (1931) (as William Goodrich)
Smart Work (1931) (as William Goodrich)
Tamale Vendor, The (1931) (as William Goodrich)
Up Pops the Duke (1931) (as William Goodrich)
Windy Riley Goes Hollywood (1931) (as William Goodrich)
Marriage Rows (1931) (as William Goodrich)
Three Hollywood Girls (1931) (as William Goodrich)
Up a Tree (1930) (as William Goodrich)
Won by a Neck (1930) (as William Goodrich)
Si Si Senor (1930) (as William Goodrich)
Peaceful Oscar (1927)
Special Delivery (1927) (as William Goodrich)
Red Mill, The (1927) (as William Goodrich)
Cleaning Up (1926) (as William Goodrich)
His Private Life (1926) (as William Goodrich)
My Stars (1926) (as William Goodrich)
One Sunday Morning (1926)
Fool's Luck (1926) (as William Goodrich)
Curses! (1925) (unconfirmed)
Fighting Dude (1925) (as William Goodrich)
Movies, The (1925) (as William Goodrich)
Tourist, The (1925) (as William Goodrich)
Iron Mule, The (1925) (as William Goodrich)
Stupid, But Brave (1924) (as William Goodrich)
Sherlock, Jr. (1924) (started, as William Goodrich; replaced by Buster Keaton)
Garage, The (1919)
Hayseed, The (1919)
Back Stage (1919)
Desert Hero, A (1919)
Love (1919)
Cook, The (1918)
Good Night, Nurse! (1918)
Moonshine (1918)
Bell Boy, The (1918)
Out West (1918)
Country Hero, A (1917)
Coney Island (1917)
Oh Doctor! (1917)
His Wedding Night (1917)
Rough House, The (1917)
Reckless Romeo, A (1917)
Butcher Boy, The (1917)
Creampuff Romance, A (1916)
Fatty and Mabel Adrift (1916)
He Did and He Didn't (1916)
His Wife's Mistakes (1916)
Moonshiners, The (1916)
Waiters' Ball, The (1916)
Bright Lights (1916)
Fatty and Mabel at the San Diego Exposition (1915)
Fatty's Chance Acquaintance (1915)
Fatty's New Role (1915)
Fatty's Plucky Pup (1915)
Fatty's Reckless Fling (1915)
Fickle Fatty's Fall (1915)
Mabel and Fatty's Married Life (1915)
Mabel and Fatty's Simple Life (1915)
Mabel and Fatty's Wash Day (1915)
Mabel and Fatty Viewing the World's Fair at San Francisco (1915)
Village Scandal, A (1915)
When Love Took Wings (1915)
Fatty and the Broadway Stars (1915)
Fatty's Tintype Tangle (1915)
Miss Fatty's Seaside Lovers (1915)
That Little Band of Gold (1915)
Fatty's Faithful Fido (1915)
Mabel, Fatty and the Law (1915)
Fatty and Minnie He-Haw (1914)
Fatty's Magic Pants (1914)
Shotguns That Kick (1914)
Leading Lizzie Astray (1914)
Sea Nymphs, The (1914)
Fatty's Wine Party (1914)
Fatty's Jonah Day (1914)
Incompetent Hero, An (1914)
Lovers' Post Office (1914)
Zip, the Dodger (1914)
Their Ups and Downs (1914/I)
Fatty Again (1914)
Fatty's Debut (1914)
Lover's Luck (1914)
Brand New Hero, A (1914)
Fatty's Gift (1914)
Those Country Kids (1914)
That Minstrel Man (1914)
Those Happy Days (1914)
Sky Pirate, The (1914)
Rowboat Romance, A (1914)
Love and Bullets (1914)
Fatty's Finish (1914)
Fatty and the Heiress (1914)
Alarm, The (1914)
Water Dog, The (1914)
Suspended Ordeal, A (1914)
Where Hazel Met the Villain (1914)
Bath House Beauty, A (1914)
Chicken Chaser (1914)
Barnyard Flirtations (1914)
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