"Kops and Custards" is a history of Mack Sennett's Keystone Films. It recounts a little bit of Sennett's background and how he founded Keystone Pictures, and how he eventually lost his fun factory through shady financial dealings. While the book is effective in recounting how Sennett had to work hard to convince others that his comedy theories would work on film, it does tend to confuse the reader by throwing in too many facts and figures concerning the finances of Keystone Corporation.
Half of the book concerns who bought what, financed this, then sold it for less to others. The amount of names brought up is dizzying, and not very enlightening. The other half of the book concerns the daily running of the studio, and the many comedians who passed in and out of Keystone's doors. Sennett's relationship with Mabel Normand is touched upon, although no explored thoroughly. Charlie Chaplin is not mentioned as often as he should have been. He is treated as just another actor who left the studio for broader horizons. One interesting fact that came out of the book was the rising film career of Charlie's brother, Sydney Chaplin, at Keystone. Sydney's career could have been very successful if he hadn't turned his sights on his brother.
Another problem with the book is the arrogant attitude it takes toward its subjects. Authors Lahue and Brewer constantly discount stories Sennett and Chaplin told in their autobiographies. The authors make many of the major players of that era as simple-minded buffoons whose only concern was money. I do not think I can recommend this book. For studying Charlie Chaplin, it doesn't cover any new ground. If you are interested in the financial goings-on of Keystone, then this book would be helpful. The book's text is just 134 pages. The book features a very impressive appendix listing all the known Keystone comedies from September 1912 through September 1917. Also listed is a bibliography, titles index, and a general index.
