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ladybug_archiveFor the last while I've had various thoughts about Slip and Duke in my mind, and now came the time when it all came to a head and I had to write it all down. XD I'm rather pleased with this essay, and now that I believe it's done, I really should get back to Prisms.
Few characters are as fondly remembered by admirers of comedy teams as Terence Aloysius Mahoney, the original leader of the Bowery Boys. It is then not really a surprise that his successor, Stanislaus Coveleskie, is not as fondly remembered. After all, how could one endeavor to replace a character so unique as he who is affectionately called "Slip" by his friends, frequently abuses the laws of the English language, and displays affection toward his best friend by hitting him with his hat? One certainly must, at least, give Mr. Coveleskie credit for being willing to try.
Knowing Slip's character and how protective he is of the Boys, he would have never left them in the care of someone whom he did not trust. Therefore, Duke must be a close friend of his and he must have proven himself capable of serving in a leadership capacity. The author theorizes that they and Sach all grew up together, though Duke drifted apart from them after a while and later returned---and that Slip bestowed the position of leader upon him when he knew he would have to go away.
At first the writers seemed not to know what to do with the new character. Should he keep many of the traits that Slip had, or should he be entirely different? But from the beginning it was obvious that Mr. Coveleskie, nicknamed "Duke", would not be the same.
Whereas Slip is much more of the rough around the edges type, and is very believeable as one who grew up in the slums of New York, Duke initially comes across as more polished and refined. While we are to assume that he came from the same background as Slip, the first impression is that Duke was raised in an area with more class and that he, perhaps, is more knowledgeable than both Sach and Slip. Even though he, like Slip, is usually seen in a suit, he has added little touches to his attire that Slip would never be caught with: namely, his hat is generally adorned with either a flower or a feather, depending on the film. Slip would most likely consider such a thing to be flamboyant or even "sissy", and so we have established the first of the characters' differences.
One of the staples of a Bowery Boys film is the way Slip attacks Sach with his pinned-up fedora hat. It is a show of affection between the characters, as evidenced in movies such as Smugglers' Cove and Blues Busters. The writers made a good decision in that they did not have Duke ever do this. Duke, however, displays other behaviors when Sach becomes frustrating, and the way Sach reacts to what both Slip and Duke do shows that his relationship with each of these characters is unique.
Both Slip and Duke are similar in that they threaten Sach when he becomes too exasperating to deal with. But while Slip's threats are generally less harmful-sounding and less graphic (unless one is watching Blues Busters or Private Eyes) and he usually simply gives Sach a whack with his hat or a slap, Duke's threats are almost always quite colorful but he rarely physically attacks his friend. Duke is, in practice, not a violent person (unless he is fighting a battle with some of their enemies), though he is notorious for teasing Sach by chasing him around with whatever he finds handy: a pickaxe, a sword, etc. Slip has done this on occasion (such as at the end of High Society), but the writers more frequently gave this schtick to his successor, instead, and it suits him better than it did Slip.
Of course, in spite of Slip's and Duke's actions, they honestly care about Sach and would not want any harm to actually come to him. At various points in the films when they believe Sach to be hurt or dead (such as in Jungle Gents and Dig That Uranium), or when they've accidentally hurt him (as in Up in Smoke), they become quite alarmed and even distraught. They may threaten, but they do not mean any of what they say and Sach realizes this, as in Spook Chasers when Blinky reminds Sach that Duke said not to try to fix anything else and Sach replies, "Oh, he was just talkin'."
Sach sees Slip as "The Chief"; no matter who takes his place, he is not the leader in the same way Slip is. The two must have a very special friendship, in order to fully understand the meaning of being hit with a hat. Sach is very content to let Slip lead and usually is quite willing to follow him anywhere because he trusts that whatever jam they get into, Slip will be able to get them out of it. Sach is generally fairly submissive when being whacked or slapped (though sometimes he will cover his head with his arms); leastwise, he does not try to retaliate except in special cases, such as in Jail Busters when Slip was trying to deliberately stage a fight.
Sach respects Duke as Slip's successor, though one wonders if there is a certain underlying bitterness at Slip being replaced. Occasionally Sach seems to want to lead the gang himself, and tries, as if he believes that Slip should have passed leadership on to him instead of to Duke. Sach's term of affection for Duke is "Dukey", and he has never addressed him as anything else (save for twice during one scene in Up in Smoke when he called him "Chief", which was a foolish and vain move on the writers' part to attempt to recreate something that they could never have back without Slip). During the few times when Duke actually does try to physically fight with Sach, Sach will indeed retaliate and they will end up in mock battles that include fistfights where neither is actually hit (in Hold That Hypnotist) and swordfights with a broken piece of wood and an umbrella (in Spook Chasers). It seems that instead of placing Duke on any kind of figurative pedestal, Sach sees him more as an equal, another member of the gang. Sach definitely thinks of Duke as a best friend, but not in the same way it was with Slip.
In spite of the fact that they had a character who is very different from Slip, the writers endeavored now and then to give him obvious Slip-like mannerisms, which only looks ludicrous and seems out of character. In Fighting Trouble, for instance, Duke displays the trait of laying back and letting the others do all the work: at least, that's how it comes across and how Mrs. Kelly views it. Perhaps he was simply frustrated with his lack of success on the windows and was hoping that Chuck could do a much better and quicker job of it. The author could understand if that was the case.
Duke, like Slip, comes across as more of a thinker; he comes up with the plans and the others carry them out, though when it concerns the storyline's main plot he is usually quite involved. And it should be noted that in Duke's later films, such as Spook Chasers, he not only directs the housework but he is an active participant as well. Actually, as early as Hold That Hypnotist Duke is helping with the chores around the boarding house, though later on in the film he seems to indicate that he is not planning to assist in looking through the cave when he comments that Sach is bringing out a lot of tools just for "you three guys." Most likely he was planning to direct the others, but to not actually work with them.
The most infamous of the writers' attempts at creating a second Slip is when they wrote malapropisms into the script. Hearing Duke say such phrases as "nervous shakedown", "obliviously", and "optical delusions" is uncomfortable and annoying. That is and forever will be Slip's trademark and it does not work for someone else, especially not someone who usually seems better versed in the English language. The author only can find two explanations that make sense as to why Duke sometimes speaks in this way. Perhaps he is merely trying to be a "wise guy." This is what the author believed upon first hearing him use the phrase "optical delusions." The other possibility is that he associated with Slip for so long that the habit of using the wrong word rubbed off on him. Slip had this effect on several guest starring characters, after all, so why not on his successor?
Even though Duke generally seems more refined, he is still just as socially inept as the other Boys when they enter high society, such as in Hot Shots. Duke believes that it is perfectly alright to eat peas with knives, and at the party, when confronted with the question of what college he went to, he states that it was Vassar. The woman whom he is speaking with quickly points out the impossibility of that, as "Vassar's for girls." Realizing his mistake, and knowing that the only way out is to be a smooth talker, Duke gives the jest, "Well, who do you think I'm for? Gophers?" Duke also has the tendency to be somewhat immature at times, as demonstrated by the mock fights he has with Sach---though this is obviously one of the ways that he and Sach show affection for each other, the same as the affection Slip shows when he strikes Sach with his hat.
In conclusion, may it be said that both Slip and Duke are very likable, human characters. Neither is perfect, both are flawed, but they each do a good job of leading the Boys. The author has compared them solely for curiosity's sake and not to prove that one is better than the other. Both are worthwhile and can be accepted and liked for their own merits. Naturally Duke could never have the same chemistry with Sach that Slip had, but would we truly want that recreated? It seems that the relationship between Slip and Sach is so perfect, so unique, that it could never be duplicated---and that holds true in the real world as well. There will always be a certain bond between two particular friends that will be solely theirs; they may have other friends, even other close friends, but they will not have exactly the same relationship with any of the others. It would not be possible in the real world, so how can it be expected from fictional characters who are indeed very human and reflections of ourselves?
Aubrie and I are continuing to have the mobsters around in our role-play. X3 Right now they're in Domino, looking for the Munger mob and hiding out to let the L.A.P.D. think that Baby Face really is dead. First Vince was attacked by the wizards and Harry blamed Baby Face for it, because Baby Face had sent Vince out and also because Baby Face had attacked the wizards in L.A. Then Kennedy attacked and Baby Face got hit with a dart, and even though he doesn't have magic, it affected him badly and he ended up going out of control. He eventually had Tony pinned to the ground and was trying to choke him to death, and Harry became so panicked that he shot Baby Face and apparently killed him. Of course Baby Face didn't really die, but now he's furious thinking that Harry shot him on purpose in light of how angry Harry was earlier. I love it! It's so intense. I'll have to write some kind of fic based on this. And Aubrie plays Vince brilliantly!
Few characters are as fondly remembered by admirers of comedy teams as Terence Aloysius Mahoney, the original leader of the Bowery Boys. It is then not really a surprise that his successor, Stanislaus Coveleskie, is not as fondly remembered. After all, how could one endeavor to replace a character so unique as he who is affectionately called "Slip" by his friends, frequently abuses the laws of the English language, and displays affection toward his best friend by hitting him with his hat? One certainly must, at least, give Mr. Coveleskie credit for being willing to try.
Knowing Slip's character and how protective he is of the Boys, he would have never left them in the care of someone whom he did not trust. Therefore, Duke must be a close friend of his and he must have proven himself capable of serving in a leadership capacity. The author theorizes that they and Sach all grew up together, though Duke drifted apart from them after a while and later returned---and that Slip bestowed the position of leader upon him when he knew he would have to go away.
At first the writers seemed not to know what to do with the new character. Should he keep many of the traits that Slip had, or should he be entirely different? But from the beginning it was obvious that Mr. Coveleskie, nicknamed "Duke", would not be the same.
Whereas Slip is much more of the rough around the edges type, and is very believeable as one who grew up in the slums of New York, Duke initially comes across as more polished and refined. While we are to assume that he came from the same background as Slip, the first impression is that Duke was raised in an area with more class and that he, perhaps, is more knowledgeable than both Sach and Slip. Even though he, like Slip, is usually seen in a suit, he has added little touches to his attire that Slip would never be caught with: namely, his hat is generally adorned with either a flower or a feather, depending on the film. Slip would most likely consider such a thing to be flamboyant or even "sissy", and so we have established the first of the characters' differences.
One of the staples of a Bowery Boys film is the way Slip attacks Sach with his pinned-up fedora hat. It is a show of affection between the characters, as evidenced in movies such as Smugglers' Cove and Blues Busters. The writers made a good decision in that they did not have Duke ever do this. Duke, however, displays other behaviors when Sach becomes frustrating, and the way Sach reacts to what both Slip and Duke do shows that his relationship with each of these characters is unique.
Both Slip and Duke are similar in that they threaten Sach when he becomes too exasperating to deal with. But while Slip's threats are generally less harmful-sounding and less graphic (unless one is watching Blues Busters or Private Eyes) and he usually simply gives Sach a whack with his hat or a slap, Duke's threats are almost always quite colorful but he rarely physically attacks his friend. Duke is, in practice, not a violent person (unless he is fighting a battle with some of their enemies), though he is notorious for teasing Sach by chasing him around with whatever he finds handy: a pickaxe, a sword, etc. Slip has done this on occasion (such as at the end of High Society), but the writers more frequently gave this schtick to his successor, instead, and it suits him better than it did Slip.
Of course, in spite of Slip's and Duke's actions, they honestly care about Sach and would not want any harm to actually come to him. At various points in the films when they believe Sach to be hurt or dead (such as in Jungle Gents and Dig That Uranium), or when they've accidentally hurt him (as in Up in Smoke), they become quite alarmed and even distraught. They may threaten, but they do not mean any of what they say and Sach realizes this, as in Spook Chasers when Blinky reminds Sach that Duke said not to try to fix anything else and Sach replies, "Oh, he was just talkin'."
Sach sees Slip as "The Chief"; no matter who takes his place, he is not the leader in the same way Slip is. The two must have a very special friendship, in order to fully understand the meaning of being hit with a hat. Sach is very content to let Slip lead and usually is quite willing to follow him anywhere because he trusts that whatever jam they get into, Slip will be able to get them out of it. Sach is generally fairly submissive when being whacked or slapped (though sometimes he will cover his head with his arms); leastwise, he does not try to retaliate except in special cases, such as in Jail Busters when Slip was trying to deliberately stage a fight.
Sach respects Duke as Slip's successor, though one wonders if there is a certain underlying bitterness at Slip being replaced. Occasionally Sach seems to want to lead the gang himself, and tries, as if he believes that Slip should have passed leadership on to him instead of to Duke. Sach's term of affection for Duke is "Dukey", and he has never addressed him as anything else (save for twice during one scene in Up in Smoke when he called him "Chief", which was a foolish and vain move on the writers' part to attempt to recreate something that they could never have back without Slip). During the few times when Duke actually does try to physically fight with Sach, Sach will indeed retaliate and they will end up in mock battles that include fistfights where neither is actually hit (in Hold That Hypnotist) and swordfights with a broken piece of wood and an umbrella (in Spook Chasers). It seems that instead of placing Duke on any kind of figurative pedestal, Sach sees him more as an equal, another member of the gang. Sach definitely thinks of Duke as a best friend, but not in the same way it was with Slip.
In spite of the fact that they had a character who is very different from Slip, the writers endeavored now and then to give him obvious Slip-like mannerisms, which only looks ludicrous and seems out of character. In Fighting Trouble, for instance, Duke displays the trait of laying back and letting the others do all the work: at least, that's how it comes across and how Mrs. Kelly views it. Perhaps he was simply frustrated with his lack of success on the windows and was hoping that Chuck could do a much better and quicker job of it. The author could understand if that was the case.
Duke, like Slip, comes across as more of a thinker; he comes up with the plans and the others carry them out, though when it concerns the storyline's main plot he is usually quite involved. And it should be noted that in Duke's later films, such as Spook Chasers, he not only directs the housework but he is an active participant as well. Actually, as early as Hold That Hypnotist Duke is helping with the chores around the boarding house, though later on in the film he seems to indicate that he is not planning to assist in looking through the cave when he comments that Sach is bringing out a lot of tools just for "you three guys." Most likely he was planning to direct the others, but to not actually work with them.
The most infamous of the writers' attempts at creating a second Slip is when they wrote malapropisms into the script. Hearing Duke say such phrases as "nervous shakedown", "obliviously", and "optical delusions" is uncomfortable and annoying. That is and forever will be Slip's trademark and it does not work for someone else, especially not someone who usually seems better versed in the English language. The author only can find two explanations that make sense as to why Duke sometimes speaks in this way. Perhaps he is merely trying to be a "wise guy." This is what the author believed upon first hearing him use the phrase "optical delusions." The other possibility is that he associated with Slip for so long that the habit of using the wrong word rubbed off on him. Slip had this effect on several guest starring characters, after all, so why not on his successor?
Even though Duke generally seems more refined, he is still just as socially inept as the other Boys when they enter high society, such as in Hot Shots. Duke believes that it is perfectly alright to eat peas with knives, and at the party, when confronted with the question of what college he went to, he states that it was Vassar. The woman whom he is speaking with quickly points out the impossibility of that, as "Vassar's for girls." Realizing his mistake, and knowing that the only way out is to be a smooth talker, Duke gives the jest, "Well, who do you think I'm for? Gophers?" Duke also has the tendency to be somewhat immature at times, as demonstrated by the mock fights he has with Sach---though this is obviously one of the ways that he and Sach show affection for each other, the same as the affection Slip shows when he strikes Sach with his hat.
In conclusion, may it be said that both Slip and Duke are very likable, human characters. Neither is perfect, both are flawed, but they each do a good job of leading the Boys. The author has compared them solely for curiosity's sake and not to prove that one is better than the other. Both are worthwhile and can be accepted and liked for their own merits. Naturally Duke could never have the same chemistry with Sach that Slip had, but would we truly want that recreated? It seems that the relationship between Slip and Sach is so perfect, so unique, that it could never be duplicated---and that holds true in the real world as well. There will always be a certain bond between two particular friends that will be solely theirs; they may have other friends, even other close friends, but they will not have exactly the same relationship with any of the others. It would not be possible in the real world, so how can it be expected from fictional characters who are indeed very human and reflections of ourselves?
Aubrie and I are continuing to have the mobsters around in our role-play. X3 Right now they're in Domino, looking for the Munger mob and hiding out to let the L.A.P.D. think that Baby Face really is dead. First Vince was attacked by the wizards and Harry blamed Baby Face for it, because Baby Face had sent Vince out and also because Baby Face had attacked the wizards in L.A. Then Kennedy attacked and Baby Face got hit with a dart, and even though he doesn't have magic, it affected him badly and he ended up going out of control. He eventually had Tony pinned to the ground and was trying to choke him to death, and Harry became so panicked that he shot Baby Face and apparently killed him. Of course Baby Face didn't really die, but now he's furious thinking that Harry shot him on purpose in light of how angry Harry was earlier. I love it! It's so intense. I'll have to write some kind of fic based on this. And Aubrie plays Vince brilliantly!
