“The story of the Kolb and Dill production is of a town founded by an aged man, who disappears. HIs heroes make no claim to the income from the estate and it finally goes to Hazy Fogg, a child of the town mothered by the villagers. Into Lonesome Town comes a trio of tramps, namely, Chico Charley, played by WIlliam C. Kolb, Bakersfield Bill, Max M. Dill, And Fresno Phil, Harvey Clark. They are, however, out of the ordinary tramps, as they come in a motor. The car is rather an old one and flings a cloud of smoke like an old wood burning locomotive. Chico Charley reposes in a bathtub, the trailer, cushioned on a mattress in an old wheelbarrow, while Bakersfield Bill and Fresno Phil ride on the boiling contraption. The tramps mask as wealthy men and immediately start making love to the town widow, played by Eugenie Forde. The town constable, who is chief of police, night watchman, lamplighter, superintendent of streets and holder of numerous other offices, is also in love with the widow and runs a good race with the three tramps. The story ends with the discovery that the tramps are the worst kind of imposters and have come to the town to garner the town founder's estate. They are chased out of town and ride out in state in their motor.”
- On the Mutual Drama Chart, Motography. 15 Dec. 1916
Kolb and Dill were renowned vaudeville comedians who brought their stage success to the screen during the early silent film era. Their performance style was characterized by exaggerated physical humor, ethnic caricatures, and situational comedy, which resonated with audiences of the time. In Lonesome Town (1916), their roles as tramps highlighted their knack for portraying working-class, everyman characters, a staple of their vaudeville personas.
Kolb and Dill's success in Lonesome Town can be seen as part of a broader attempt by vaudeville comedians to transition into film. They had established their careers on the West Coast, frequently performing in California. Their brand of comedy was praised for its universal appeal, and their performances in Lonesome Town were seen as an extension of their vaudeville repertoire, incorporating physical comedy and absurd situations, like their arrival in a comically dilapidated car.
Though their time in film was brief, Kolb and Dill's work in Lonesome Town was a key moment in blending vaudeville with early cinema. Lonesome Town showcased how their roots could be successfully adapted to the emerging silent film realm, amplifying their popularity across the country.
- Alexia Cabral, FAMST 151FA, September, 2024
“Lonesome Town” is full of amusing scenes and clean-cut comedy, which will cause the theatre-goer many a hearty laugh. Motoring scenes are amongst the most prominent in the production and they are the most ridiculous ever screened.
Week's Amusements at the Theaters, Mercury News, 7 January, 1917