This is an ORIGINAL black & white Photograph measuring 8" x 10" with ORIGINAL PRESS SNIPE Still ATTACHED TO THE BACK of the Photo.

It is stamped on the back PHOTO BY STAX.

It is a RARE vintage photo all ORIGINAL direct from the Hal Roach Studios, Hollywood California, WITH ORIGINAL PRESS SNIPE still ATTACHED to the BACK of photograph!


It a nice shape publicity photo featuring GUINN BIG BOY WILLIAMS and CHARLEY CHASE from the 1936 comedy sports boxing film,


Director: Gus Meins

Writers: Jefferson Moffitt (screen play) (as Jeff Moffitt), William H. Terhune (screen play) (as William Terhune)

Patsy Kelly, Guinn 'Big Boy' Williams, Charley Chase

A feisty Irishwoman named Molly Kelly (Patsy Kelly) helps a truck driver named Cecil Callahan (Guinn Williams) to become a professional boxer. Mollie Patricia Kelly is rushing to her job as the lunch counter manager at Dr. J. Willoughby Klum's drugstore when her car accidentally latches onto a passing truck that drags her through half of New York. When the truck finally stops, she starts yelling at its driver, Cecil Callahan, and their arguing results in a free-for-all fight among bystanders. The police are used to Cecil's fighting and alert the station house, which dispatches a paddy wagon. When Mollie accidentally hits a radio, causing it to play "The Irish Washerwoman," however, Cecil quickly bests his opponents and the two flee. After driving Mollie to work, Cecil finally has to face the police, who spot his truck outside. Because Mollie and Dr. Klum try to hide Cecil, they are also brought into court, but are set free. Feeling sorry for Cecil, Dr. Klum offers to help and inadvertently winds up posting his store as a bond to ensure that the pugnacious Cecil will never fight again. Realizing that Cecil can't live without fighting, Mollie decides to turn him into a boxer, with Klum as manager and herself as trainer. On the night of his first fight, Cecil is a few pounds underweight, so Mollie stuffs him with bananas just before the match. Meanwhile, Klum is seated next to gangster Ike Arnold and unwittingly gets Arnold to bet $1,000 on Cecil when the two men find they have a common interest in astrology. When Cecil is quickly knocked out because of his upset stomach, Arnold thinks he has been duped and the frightened Klum rushes back to the drug store, closely followed by Arnold and his gang. Because he saw Cecil slug his opponent for real in the dressing rooms, Arnold knows that he can fight and proposes a partnership with Klum. Soon Mollie and Cecil go to train in the country and Cecil begins to win. Within a few months, he has won nineteen fights and is scheduled to oppose the heavyweight champion, Butch Flynn. At a party, Mollie becomes jealous of Gloria, Arnold's girl friend, when she thinks that Cecil prefers her. That same night, Gloria becomes angry at Arnold because he tries to palm a rabbit coat off as ermine, so she decides to make a play for Cecil. Cecil and Mollie argue, and when Gloria invites him to her apartment, he goes. On the night of the fight, neither Mollie nor Klum can find Cecil until their assistant Dan tells Mollie that he is in a nightclub with Gloria. Mollie goes to get him, but when he drunkenly says he is going to marry Gloria, she leaves. When Cecil finally comes back, Klum tries to sober him up, but Arnold sees him and secretly decides to bet on Flynn. When the fight starts, Cecil tries to win, but can't, because he misses Mollie. She, meanwhile, has disguised herself in a long beard and glasses and is watching the fight from the audience. When she hears Gloria tell Arnold that she wasn't fooling around with Cecil, and all he talked about was Mollie, Mollie rushes to the ring and encourages him to win. She uses a hatpin to stick him when he falls down, but when even this doesn't help, she asks Klum to play "The Irish Washerwoman" on a hurdy gurdy. Cecil then jumps into action until a nervous Arnold has the hurdy gurdy smashed. Now desperate, Mollie rushes into the audience, and after asking for Irishmen, gets them to sing the song. Soon the entire audience joins in and Cecil bests his opponent. Finally free from worries, Klum says that Cecil and Mollie can now get married, and after a few verbal punches, they agree.


Patsy Kelly ... Molly
Guinn 'Big Boy' Williams ... Cecil Callahan (as Guinn Williams)
Charley Chase ... Doc Klum
Pert Kelton ... Gloria
Edward Brophy ... Ike Arnold
Harold Huber ... Spike
Maxie Rosenbloom ... Butch Flynn
DeWitt Jennings ... Judge (as DeWitt C. Jennings)
Syd Saylor ... Dan

Press Information is attached to the back. Photo measures 8 x 10" does have slight yellowing for over 80 years old.

It's a nice photo! Great photo for fans of GUINN WILLIAMS, CHARLEY CHASE or HAL ROACH Collector!

Finding anything ORIGINAL on CHARLEY CHASE or from the Hal Roach Studios is extremely RARE so don't let this one pass you by! A Fantastic find for the TRUE Chase or Hal Roach collector!

Shop with confidence! This is part of our in-store inventory from our shop which is has been located in the heart of Hollywood where we have been in business for OVER 40 years!

MORE INFORMATION ON CHARLEY CHASE: Charley Chase (October 20, 1893 "?? June 20, 1940) was an American comedian, actor, screenwriter and film director, best known for his work in Hal Roach short film comedies. He was the older brother of comedian/director James Parrott.

Born Charles Joseph Parrott in Baltimore, Maryland, Chase began performing in vaudeville as a teenager and started his career in films by working at the Christie Film Company in 1912. He then moved to Keystone Studios, where he began appearing in bit parts in the Mack Sennett films, including those of Charlie Chaplin. By 1915 he was playing juvenile leads in the Keystones, and directing some of the films as Charles Parrott. His Keystone credentials were good enough to get him steady work as a comedy director with other companies; he directed many of Chaplin imitator Billy West's comedies, which featured a young Oliver Hardy as villain.

He worked at L-KO Kompany during its final months of existence. Then in 1920, Chase began working as a film director for Hal Roach Studios. Among his notable early works for Roach was supervising the first entries in the Our Gang series, as well as directing several films starring Lloyd Hamilton; like many other silent comedians, Chase is reported to have regarded Hamilton's work as a major influence on that of his own. Chase became director-general of the Hal Roach studio in late 1921, supervising the production of all the Roach series except the Harold Lloyd comedies. Following Lloyd's departure from the studio in 1923, Chase moved back in front of the camera with his own series of shorts, adopting the screen name Charley Chase.

Chase was a master of the comedy of embarrassment, and he played either hapless young businessmen or befuddled husbands in dozens of situation comedies. His screen persona was that of a pleasant young man with a dapper mustache and ordinary street clothes; this set him apart from the clownish makeups and crazy costumes used by his contemporaries. His earliest Roach shorts cast him as a hard-luck fellow named "Jimmie Jump" in one-reel (10-minute) comedies.

The first Chase series was successful and expanded to two reels (20 minutes); this would become the standard length for Chase comedies, apart from a few three-reel featurettes later. Direction of the Chase series was taken over by Leo McCarey, who in collaboration with Chase formed the comic style of the series—an emphasis on characterization and farce instead of knockabout slapstick. Some of Chase's starring shorts of the 1920s, particularly Mighty Like a Moose, Crazy Like a Fox, Fluttering Hearts, and Limousine Love, are among the finest in silent comedy. Chase remained the guiding hand behind the films, assisting anonymously with the directing, writing, and editing.

Chase moved with ease into sound films in 1929, and became one of the most popular film comedians of the period. He continued to be very prolific in the talkie era, often putting his fine singing voice on display and including his humorous, self-penned songs in his comedy shorts. The two-reeler The Pip from Pittsburgh, released in 1931 and co-starring Thelma Todd, is one of the most celebrated Charley Chase comedies of the sound era. Throughout the decade, the Charley Chase shorts continued to stand alongside Laurel and Hardy and Our Gang as the core output of the Roach studio. Chase was featured in the Laurel and Hardy feature Sons of the Desert; Laurel and Hardy made cameo appearances as hitchhikers in Chase's On the Wrong Trek.

On the Wrong Trek was supposed to be the final Charley Chase short subject; by 1936 producer Hal Roach was now concentrating on making ambitious feature films. Chase played a character role in the Patsy Kelly feature Kelly the Second, and starred in a feature-length comedy called Bank Night, lampooning the popular Bank Night phenomenon of the 1930s. Chase's feature was plagued with a host of production problems and legalities, and the film was drastically edited down to two reels and finally released as one last Charley Chase short, Neighborhood House. Chase was then dismissed from the Roach studio.

In 1937, Chase began working at Columbia Pictures, where he spent the rest of his career starring in his own series of two-reel comedies, as well as producing and directing other Columbia comedies, including those of The Three Stooges and Andy Clyde. He directed the Stooges' classic Violent Is the Word for Curly; although he is often credited with writing the film's song "Swinging the Alphabet", the tune actually originates with 19th-century songwriter Septimus Winner. Recent research asserts that the Chase family's maid introduced the song to Charley and taught it to his daughters. Chase's own shorts at Columbia favored broader sight gags and more slapstick than his earlier, subtler work, although he does sing in two of the Columbias, The Grand Hooter and The Big Squirt (both 1937). Many of Chase's Columbia short subjects were strong enough to be remade in the 1940s with other comedians; Chase's The Heckler (1940) was remade with Shemp Howard as Mr. Noisy (1946) while The Nightshirt Bandit (1938) was remade with Andy Clyde as Go Chase Yourself (1948) and again in 1956 as Pardon My Nightshirt.

Chase suffered from depression and alcoholism for most of his professional career, and his tumultuous lifestyle began to take a serious toll on his health. His hair had turned prematurely gray, and he dyed it jet-black for his Columbia comedies.

His younger brother, comedy writer-director James Parrott, had personal problems resulting from a drug treatment, and died in 1939. Chase was devastated. He had refused to give his brother money to support his drug habit, and friends knew he felt responsible for Parrott's death. He coped with the loss by throwing himself into his work and by drinking more heavily than ever, despite doctors' warnings. The stress ultimately caught up with him; just over a year after his brother's death, Charley Chase died of a heart attack in Hollywood, California on June 20, 1940. He was interred in the Forest Lawn Memorial Park Cemetery in Glendale, California.

For his contribution to the motion picture industry, Charley Chase has a star on the Hollywood Walk of Fame at 6630 Hollywood Boulevard.

Since the 1990s, there has been a revival of interest in the films of Charley Chase, due in large part to the increased availability of his comedies. An extensive website researching his life and work, The World of Charley Chase, was created in 1996, and a biography, Smile When the Raindrops Fall, was published in 1998.

Chase's sound comedies for Hal Roach were briefly televised in the late 1990s on the short-lived American cable network the Odyssey Channel. Retrospectives of Chase's work organized by The Silent Clowns Film Series were held in 1999, 2001, 2006, and 2008 in New York City.

A marathon of selected Charley Chase shorts from the silent era was broadcast in 2005 on the American cable television network Turner Classic Movies. In late 2006, Turner Classic Movies began to air Charley Chase's sound-era comedies. In January 2011, several of his sound shorts were featured during Turner Classic Movies' tribute to Hal Roach Studios.

In 2007, Mighty Like a Moose (1926) was selected for inclusion in the Library of Congress's National Film Registry, solidifying its reputation as one of the most celebrated comedies of the silent era and cementing Chase's status as a pioneer of early film comedy.

Columbia Pictures has prepared digital restorations of its twenty Charley Chase shorts, in the same manner as its Buster Keaton DVD restorations. On January 1, 2013 Sony Home Entertainment released Charley Chase Shorts Volume 1, part of its "Columbia Choice Collection" MOD D-R library. The 1-disc release contains eight of Chase's starring shorts, and one Smith & Dale short which he directed, A Nag in the Bag (1938). On November 5, 2013 Sony Home Entertainment released Charley Chase Shorts Volume 2, another in their MOD DVD-R series.

MORE INFO ON GUINN Big Boy WILLIAMS: Guinn Terrell Williams Jr. (April 26, 1899 - June 6, 1962) was an American actor who appeared in memorable westerns such as Dodge City (1939), Santa Fe Trail (1940), and The Comancheros (1961). He was nicknamed "Big Boy" as he was 6' 2" and had a muscular build from years of working on ranches and playing semi-pro and professional baseball.

His father, Guinn Williams, represented the 13th Texas Congressional District in the United States House of Representatives from 1922 to 1932. When Williams Jr. returned from World War I as an Army officer, he found out his father had secured for him an appointment to West Point that Williams Jr. saw no need to attend after his war service; he decided to become a baseball player instead. He was introduced by Will Rogers into motion pictures and polo, where he became a champion player and was given the name "Big Boy" by Rogers.

Williams made his screen debut in the 1919 comedy, Almost A Husband, with Will Rogers and Cullen Landis, and was featured in a large supporting role ten years later in Frank Borzage's Lucky Star with Janet Gaynor and Charles Farrell. Throughout the 1920s, Williams would have a string of successful films, mostly westerns.

He then appeared in The Great Meadow alongside Johnny Mack Brown, which was Brown's breakout film. Throughout the 1930s, Williams acted in supporting roles, mostly in westerns, sports, or outdoor dramas. He was always employed, and was successful as both a B picture leading man and a supporting actor in A pictures. He often played alongside Hoot Gibson and Harry Carey during that period. In 1941, he became one of many actors cast by Universal Pictures in their large film series, Riders of Death Valley. From the late 1930s to the mid-1940s, Williams appeared in supporting roles in a number of A-pictures, sometimes with high billing, such as You Only Live Once, and in Columbia's first Technicolour film, The Desperadoes (1943).

Williams was frequently teamed with Alan Hale, Sr. as sidekicks to Errol Flynn in several of his pictures. In 1960, he was cast in the epic film The Alamo and in Home from the Hill with Robert Mitchum. His last role was opposite his close friend John Wayne and Stuart Whitman in The Comancheros.

He was married to three actresses, the first being silent film actress Kathleen Collins. For a time, he was married to B-movie actress Barbara Weeks. His last wife was Dorothy Peterson, whom he first met in the 1940s. Prior to meeting her he had been engaged to Lupe Velez but she literally broke off the engagement at their friend Errol Flynn's home by breaking a framed portrait of Williams over his head and then urinating on the picture.

Williams died unexpectedly of uremic poisoning on June 6, 1962, aged 63.

MORE INFO ON HAL ROACH: Hal Roach was born in Elmira, New York in 1892. After working as, among other things, a gold prospector, he wound up in Hollywood and began picking up jobs as an extra in comedies, where he met comedian Harold Lloyd. He began producing, directing and writing a series of short film comedies starring Lloyd around 1915. These were quite successful, and Roach started his own production company and eventually bought his own studio. By the early 1920s he had eclipsed Mack Sennett as the King of Comedy and created many of the most memorable comic series of all time, even by today's standards. These include the team of Stan Laurel and Oliver Hardy, Charley Chase and The Little Rascals. By the late 1930s Roach's formula for success was jeopardized by audience demands for bigger, feature-length productions, and he was forced to try his hand at making full-length screwball comedies, musicals and dramas, although he still kept turning out two-reel comedies. By the 1950s he was producing mainly for television. In 1983 his company developed the first successful digital colorization process. Roach then became a producer for many TV series on the Disney Channel, and his company still produces most of their films and videos.

This item is part of Backlot Movie Memorabilia and collectibles in-store inventory from our shop which is located in the heart of Hollywood, where we have been in business for OVER 40 years!!!

Item #BMM0004001