September 21, 1863|
New York City, New York, U.S.
|Died||April 26, 1915
New Rochelle, New York, U.S.
|Clara Scallan (m. 1890)|
|Relatives||George Bunny (brother)|
John Bunny (September 21, 1863 - April 26, 1915) was an American actor who has been described as "the first internationally recognized film comedian." Between 1909 and his death in 1915, Bunny was one of the top stars of early silent film, as well as an early example of celebrity. At one time, he was billed as "the man who makes more than the president". His face was insured for $100,000 and his unexpected death made headlines around the world. Although quickly forgotten, Bunny paved the way for future overweight comedians such as Roscoe Arbuckle and Jackie Gleason.
Born in New York City, Bunny was raised in Brooklyn where he attended high school and worked as a grocery clerk before joining a small minstrel show touring the East Coast. He went on to jobs as stage manager for various stock companies and performed in vaudeville before being drawn to the fledgling motion picture business. By 1909, Bunny was working at Vitagraph Studios where the happy-go-lucky, rotund man quickly became an international star of silent film comedies. At Vitagraph he starred in a series of over one hundred popular comedies with the comedian Flora Finch that were popularly called "Bunnyfinches".
The popularity of Bunny can be attributed to the succulent fun of the music hall and the circus, not the dry wit of sophisticated comedies. He was jolly, boisterous, and broad in his acting, and because of this style, he connected strongly with early nickelodeon audiences.
In a 1913 interview in Motion Picture Acting by Francis Agnew, he prophetically mused,
"I believe the time is coming when motion picture machines will be a part of the equipment of every school and college in the country, and many branches of learning now so objectionable to children will be made interesting by the use of motion pictures. My principal worry is the fact that I can't hope to live long enough to do all the work that I've mapped out for myself. I have planned fifty years of activity in the motion picture business, which I fear I will not live to carry out entirely. I want to see Latin and Greek mythology taught in every school and college in the United States by the use of films. It can and will be done and will be one of the biggest gifts to mankind the world has ever known."
Regarding the motion picture industry as a profession, Bunny reflected to Francis Agnew,
"There's nothing like it. No other work gives an actor or would-be actor the same advantages. In the pictures, a player gets fifty-two weeks in the year. Where is the theatrical manager who can offer that? Not even vaudeville stars can get such bookings. At best, thirty weeks is about all an actor can expect on the stage. He may get summer stock work, but even so it is of uncertain duration. Stage work is a gamble. Even when you have been engaged for a production, rehearsed from three to six weeks without pay, and no doubt bought your own costumes for the piece, you have no guarantee that it will be a success. If the public does not set its stamp of approval, your job is all over perhaps after but one performance, and you can only repeat the procedure by trying again with someone else, charging the other to your loss account, with a credit notation probably on the page marked 'experience.'"
Bunny was strongly disliked by most of his fellow actors at Vitagraph, including Finch. Interviews of former Vitagraph personnel conducted by Anthony Slide in the 1960s and 1970s revealed that his co-workers found him arrogant, bad-tempered, and difficult to work with, an image very much at odds with his genial on-screen persona.
Bunny had been acting in films for only five years when he died from Bright's disease at his home in Brooklyn on April 26, 1915. He was survived by his wife and two children. He was interred in the Cemetery of the Evergreens in Brooklyn, New York. Bunny's unexpected death generated headlines in newspapers and magazines around the world.
Following Bunny's passing, advances in technology and in stunts brought great new comedic stars to silent film that relegated Bunny to the status of an almost completely forgotten actor; however, he was posthumously inducted into the Hollywood Walk of Fame in 1960 for his contributions to the film industry with a motion pictures star located at 1715 Vine Street in Hollywood.
A New York Times editorial published after Bunny's death noted that thousands recognized him as "the living symbol of wholesome merriment" and declared, "the films which preserve his humorous personality in action may in time have new value. It is a subject worthy of reflection, the value of a perfect record of a departed singer's voice, of the photographic films perpetuating the drolleries of a comedian who developed such extraordinary capacity for acting before the camera."
According to Frank Scheide, "Bunny's humor was based more on comedy of manners than slapstick". Sheide sees the "polite" and "respectable" situational comedy exemplified Bunny as an attempt to court the middle class in contrast to the crass and sometimes violent gags of slapstick films.
|1909||Cohen's Dream||Cohen||Alternative title: Cohen's Dream of Coney Island|
|Cohen at Coney Island||Cohen|
|1910||Davy Jones and Captain Bragg||Captain Bragg|
|Captain Barnacle's Chaperone||Captain Barnacle|
|1911||A Queen for a Day||Bridget McSweeney|
|Teaching McFadden to Waltz||McFadden|
|Her Crowning Glory||Mortimer|
|Little Nemo||Animated short created by Winsor McCay|
|1912||Captain Jenks' Dilemma||Captain Jenks|
|A Cure for Pokeritis||George Brown|
|Michael McShane, Matchmaker||Michael McShane|
|Flaming Hearts||Jonathan Whippletree|
|The Pickwick Papers||Mr Pickwick|
|Bunny Dips Into Society||Bunny|
|Bunny as a Reporter||Bunny|
|1914||Love's Old Dream||Professor Simon Sweet|
|Setting the Style||Mr. Finnegan|
|Hearts and Diamonds|
|1915||The Jarrs Visit Arcadia|
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