David Arbuckle

Roscoe Conkling Arbuckle was born on March 24, 1887 in Smith Center, Kansas, one of nine children of Mary E. "Mollie" Gordon (d. February 19, 1898) and William Goodrich Arbuckle. He weighed in excess of 13 lb (5.9 kg) at birth and, as both parents had slim builds, his father believed the child was not his. Consequently, the man named the baby after a politician (and notorious philanderer) whom he despised, Republican senator Roscoe Conkling of New York. The birth was traumatic for Mollie and resulted in chronic health problems that contributed to her death 12 years later. When Arbuckle was nearly two his family moved to Santa Ana, California.

Arbuckle had a "wonderful" singing voice and was extremely agile. At the age of eight, with his mother's encouragement, he first performed on stage with Frank Bacon's company during their stopover in Santa Ana. Arbuckle enjoyed performing and continued on until his mother's death in 1899 when he was 12. His father, who had always treated him harshly, now refused to support him and Arbuckle got work doing odd jobs in a hotel. Arbuckle was in the habit of singing while he worked and was overheard by a customer who was a professional singer. The customer invited him to perform in an amateur talent show. The show consisted of the audience judging acts by clapping or jeering with bad acts pulled off the stage by a shepherd's crook. Arbuckle sang, danced, and did some clowning around, but did not impress the audience. He saw the crook emerge from the wings and to avoid it somersaulted into the orchestra pit in obvious panic. The audience went wild, and he not only won the competition but began a career in vaudeville.

Frequent co-star Mabel Normand.

In 1904, Sid Grauman invited Arbuckle to sing in his new Unique Theater in San Francisco, beginning a long friendship between the two. He then joined the Pantages Theatre Group touring the West Coast of the United States and in 1906 played the Orpheum Theater in Portland, Oregon in a vaudeville troupe organized by Leon Errol. Arbuckle became the main act and the group took their show on tour.

On August 6, 1908, Arbuckle married Minta Durfee (1889–1975), the daughter of Charles Warren Durfee and Flora Adkins. Durfee starred in many early comedy films, often with Arbuckle. They made a strange couple, as Minta was short and petite while Arbuckle tipped the scales at 300 lbs. Arbuckle then joined the Morosco Burbank Stock vaudeville company and went on a tour of China and Japan returning in early 1909.

Arbuckle began his film career with the Selig Polyscope Company in July 1909 when he appeared in Ben's Kid. Arbuckle appeared sporadically in Selig one-reelers until 1913, moved briefly to Universal Pictures and became a star in producer-director Mack Sennett's Keystone Cops comedies. (However, according to the Motion Picture Studio Directory for 1919 and 1921, Arbuckle began his screen career with Keystone in 1913 as an extra for $3 a day (equivalent to approximately $73 in 2016 dollars), working his way up through the acting ranks to become a lead player and director. Although his large size was undoubtedly part of his comedic appeal Arbuckle was self-conscious about his weight and refused to use it to get "cheap" laughs. For example, he would not allow himself to be stuck in a doorway or chair.

Arbuckle was a talented singer. After Enrico Caruso heard him sing, the virtuoso urged the comedian to "...give up this nonsense you do for a living, with training you could become the second greatest singer in the world."

With Charlie Chaplin in Tango Tangles (1914)

Arbuckle's nephew Al St. John (right) with Buster Keaton and Arbuckle in Out West (1918).

Ad for The Hayseed (1919) with Arbuckle holding his dog Luke.

Arbuckle's photo on the cover of the UK based Pictures motion picture magazine of the July 23, 1921 issue.

Despite his massive physical size, Arbuckle was remarkably agile and acrobatic. Director Mack Sennett, when recounting his first meeting with Arbuckle, noted that he "skipped up the stairs as lightly as Fred Astaire"; and, "without warning went into a feather light step, clapped his hands and did a backward somersault as graceful as a girl tumbler". His comedies are noted as rollicking and fast-paced, have many chase scenes, and feature sight gags. Arbuckle was fond of the "pie in the face", a comedy cliché that has come to symbolize silent-film-era comedy itself. The earliest known pie thrown in film was in the June 1913 Keystone one-reeler A Noise from the Deep, starring Arbuckle and frequent screen partner Mabel Normand.

In 1914, Paramount Pictures made the then-unheard-of offer of US$1,000-a-day plus 25% of all profits and complete artistic control to make movies with Arbuckle and Normand. The movies were so lucrative and popular that in 1918 they offered Arbuckle a three-year, $3 million contract (equivalent to about $48,000,000 in 2016 dollars).

By 1916, Arbuckle was experiencing serious health problems. An infection that developed on his leg became a carbuncle so severe that doctors considered amputation. Although Arbuckle was able to keep his leg, he became addicted to the pain killer morphine.

Following his recovery, Arbuckle started his own film company, Comique, in partnership with Joseph Schenck. Although Comique produced some of the best short pictures of the silent era, in 1918 Arbuckle transferred his controlling interest in the company to Buster Keaton and accepted Paramount's $3 million offer to make up to 18 feature films over three years.

Arbuckle disliked his screen nickname, which he had been given because of his substantial girth. "Fatty" had also been Arbuckle's nickname since school; "It was inevitable", he said. He weighed 185 lb (84 kg) when he was 12. Fans also called Roscoe "The Prince of Whales" and "The Balloonatic". However, the name Fatty identifies the character that Arbuckle portrayed on-screen (usually a naive hayseed)—not Arbuckle himself. When Arbuckle portrayed a female, the character was named "Miss Fatty", as in the film Miss Fatty's Seaside Lovers. Arbuckle discouraged anyone from addressing him as "Fatty" off-screen, and when they did so his usual response was, "I've got a name, you know."

This 1922 Vanity Fair caricature by Ralph Barton shows the famous people who, he imagined, left work each day in Hollywood; use cursor to identify individual figures.

Suite 1221 of St. Francis Hotel shortly after Arbuckle's party

On September 5, 1921, Arbuckle took a break from his hectic film schedule and, despite suffering from second-degree burns to both buttocks from an accident on set, drove to San Francisco with two friends, Lowell Sherman and Fred Fishback. The three checked into three rooms at the St. Francis Hotel: 1219 for Arbuckle and Fishback to share, 1221 for Sherman, and 1220 designated as a party room.

Several women were invited to the suite. During the carousing, a 26-year-old aspiring actress named Virginia Rappe was found seriously ill in room 1219 and was examined by the hotel doctor, who concluded her symptoms were mostly caused by intoxication, and gave her morphine to calm her. Rappe was not hospitalized until two days after the incident.

Virginia Rappe suffered from chronic cystitis, a condition that liquor irritated dramatically. Her heavy drinking habits and the poor quality of the era's bootleg alcohol could leave her in severe physical distress. She developed a reputation for over-imbibing at parties, then drunkenly tearing at her clothes from the resulting physical pain. But by the time of the St. Francis Hotel party, her reproductive health was a greater concern. She had undergone several abortions in the space of a few years, the quality of care she received for such procedures was probably substandard, and she was preparing to undergo another (or, more likely, had recently done so) as a result of being impregnated by her boyfriend, director Henry Lehrman.

At the hospital, Rappe's companion at the party, Bambina Maude Delmont, told Rappe's doctor that Arbuckle had raped her friend. The doctor examined Rappe but found no evidence of rape. Rappe died one day after her hospitalization of peritonitis, caused by a ruptured bladder. Delmont then told police that Arbuckle raped Rappe, and the police concluded that the impact Arbuckle's overweight body had on Rappe eventually caused her bladder to rupture. Rappe's manager Al Semnacker (at a later press conference) accused Arbuckle of using a piece of ice to simulate sex with her, which led to the injuries. By the time the story was reported in newspapers, the object had evolved into being a Coca-Cola or champagne bottle, instead of a piece of ice. In fact, witnesses testified that Arbuckle rubbed the ice on Rappe's stomach to ease her abdominal pain. Arbuckle denied any wrongdoing. Delmont later made a statement incriminating Arbuckle to the police in an attempt to extort money from Arbuckle's attorneys.

Arbuckle's trial was a major media event; exaggerated and sensationalized stories ran in William Randolph Hearst's nationwide newspaper chain. The story was fueled by yellow journalism, with the newspapers portraying him as a gross lecher who used his weight to overpower innocent girls. In reality, Arbuckle was a good-natured man who was so shy with women that he was regarded by those who knew him as: "the most chaste man in pictures". Hearst was gratified by the profits he accrued during the Arbuckle scandal, and later said that it had "sold more newspapers than any event since the sinking of the Lusitania." The resulting scandal destroyed Arbuckle's career and his personal life. Morality groups called for Arbuckle to be sentenced to death, while studio executives ordered Arbuckle's industry friends and fellow actors (whose careers they controlled) not to publicly speak up for him. Charlie Chaplin, who was in Britain at the time, told reporters that he could not (and would not) believe Roscoe Arbuckle had anything to do with Virginia Rappe's death; having known Arbuckle since they both worked at Keystone in 1914, Chaplin "knew Roscoe to be a genial, easy-going type who would not harm a fly." Buster Keaton reportedly did make one public statement in support of Arbuckle's innocence which earned him a mild reprimand from the studio where he worked. Film actor William S. Hart, who had never met or worked with Arbuckle, made a number of damaging public statements in which he presumed that Arbuckle was guilty. Arbuckle later wrote a premise for a film parodying Hart as a thief, bully, and wife beater, which Keaton purchased from him. The following year in 1922, Keaton co-wrote, directed and starred in The Frozen North, the resulting film, and as a result, Hart refused to speak to Keaton for many years.

The prosecutor, San Francisco District Attorney Matthew Brady, an intensely ambitious man who planned to run for governor, made public pronouncements of Arbuckle's guilt and pressured witnesses to make false statements. Brady at first used Delmont as his star witness during the indictment hearing. The defense had also obtained a letter from Delmont admitting to a plan to extort payment from Arbuckle. In view of Delmont's constantly changing story, her testimony would have ended any chance of going to trial. Ultimately, the judge found no evidence of rape. After hearing testimony from one of the party guests, Zey Prevon, that Rappe told her "Roscoe hurt me" on her deathbed, the judge decided that Arbuckle could be charged with first-degree murder. Brady had originally planned to seek the death penalty. The charge was later reduced to manslaughter.

First trial

Arbuckle at the first trial

On September 17, 1921, Arbuckle was arrested and arraigned on the charges of manslaughter, but arranged bail after nearly three weeks in jail. The trial began November 14, 1921, in the city courthouse in San Francisco. Arbuckle's defense lawyer was Gavin McNab, a professional and competent local attorney that Arbuckle hired as his lead defense counsel. The principal witness was Ms. Zey Prevon, a guest at the party. At the beginning of the trial Arbuckle told his already-estranged wife, Minta Durfee, that he did not harm Rappe; she believed him and appeared regularly in the courtroom to support him. Public feeling was so negative that she was later shot at while entering the courthouse.

Brady's first witnesses during the trial included Betty Campbell, a model, who attended the September 5 party and testified that she saw Arbuckle with a smile on his face hours after the alleged rape occurred; Grace Hultson, a local hospital nurse who testified it was very likely that Arbuckle raped Rappe and bruised her body in the process; and Dr. Edward Heinrich, a local criminologist who claimed he found Arbuckle's fingerprints smeared with Rappe's blood on room 1219's bathroom door. Dr. Arthur Beardslee, the hotel doctor who had examined Rappe, testified that an external force seemed to have damaged the bladder. During cross-examination, Betty Campbell, however, revealed that Brady threatened to charge her with perjury if she did not testify against Arbuckle. Dr. Heinrich's claim to have found fingerprints was cast into doubt after McNab produced the St. Francis hotel maid, who testified that she had cleaned the room before the investigation even took place and did not find any blood on the bathroom door. Dr. Beardslee admitted that Rappe had never mentioned being assaulted while he was treating her. McNab was furthermore able to get Nurse Hultson to admit that the rupture of Rappe's bladder could very well have been a result of cancer, and that the bruises on her body could also have been a result of the heavy jewelry she was wearing that evening. During the defense stage of the trial, McNab called various pathology experts who testified that although Rappe's bladder had ruptured, there was evidence of chronic inflammation and no evidence of any pathological changes preceding the rupture; in other words, there was no external cause for the rupture.

On November 28, Arbuckle testified as the defense's final witness. Arbuckle was simple, direct, and unflustered in both direct and cross examination. In his testimony, Arbuckle claimed that Rappe (whom he testified that he had known for five or six years) came into the party room (1220) around noon that day, and that some time afterward Mae Taub (daughter-in-law of Billy Sunday) asked him for a ride into town, so he went to his room (1219) to change his clothes and discovered Rappe in the bathroom vomiting in the toilet. Arbuckle then claimed Rappe told him she felt ill and asked to lie down, and that he carried her into the bedroom and asked a few of the party guests to help treat her. When Arbuckle and a few of the guests re-entered the room, they found Rappe on the floor near the bed tearing at her clothing and going into violent convulsions. To calm Rappe down, they placed her in a bathtub of cool water. Arbuckle and Fischbach then took her to room 1227 and called the hotel manager and doctor. After the doctor declared that Rappe was just drunk, Arbuckle then drove Taub to town.

During the whole trial, the prosecution presented medical descriptions of Rappe's bladder as evidence that she had an illness. In his testimony, Arbuckle denied he had any knowledge of Rappe's illness. During cross-examination, Assistant District Attorney Leo Friedman aggressively grilled Arbuckle that he refused to call a doctor when he found Rappe sick, and argued that he refused to do so because he knew of Rappe's illness and saw a perfect opportunity to rape and kill her. Arbuckle calmly maintained that he never physically hurt or sexually assaulted Rappe in any way during the September 5 party, and he also claimed that he never made any inappropriate sexual advances against any woman in his life. After over two weeks of testimony with 60 prosecution and defense witnesses, including 18 doctors who testified about Rappe's illness, the defense rested. On December 4, 1921, the jury returned five days later deadlocked after nearly 44 hours of deliberation with a 10–2 not guilty verdict, and a mistrial was declared.

Arbuckle's attorneys later concentrated their attention on one woman named Helen Hubbard who had told jurors that she would vote guilty "until hell freezes over". She refused to look at the exhibits or read the trial transcripts, having made up her mind in the courtroom. Hubbard's husband was a lawyer who did business with the D.A.'s office, and expressed surprise that she was not challenged when selected for the jury pool. While much attention was paid to Hubbard after the trial, some other jury members felt Arbuckle was guilty but not beyond a reasonable doubt, and various jurors joined Hubbard in voting to convict, including – repeatedly at the end – Thomas Kilkenny. Arbuckle researcher Joan Myers describes the political climate and the media attention to the presence of women on juries (which had only been legal for four years at the time), and how Arbuckle's defense immediately singled out Hubbard as a villain; Myers also records Hubbard's account of the jury foreman August Fritze's attempts to bully her into changing her vote. While Hubbard offered explanations on her vote whenever challenged, Kilkenny remained silent and quickly faded from the media spotlight after the trial ended.

Second trial

The second trial began January 11, 1922, with a new jury, but with the same legal defense and prosecution as well as the same presiding judge. The same evidence was presented, but this time one of the witnesses, Zey Prevon, testified that Brady had forced her to lie. Another witness who testified during the first trial, a former security guard named Jesse Norgard, who worked at Culver Studios where Arbuckle worked, testified that Arbuckle had once shown up at the studio and offered him a cash bribe in exchange for the key to Rappe's dressing room. The comedian supposedly said he wanted it to play a joke on the actress. Norgard said he refused to give him the key. During cross-examination, Norgard's testimony was called into question when he was revealed to be an ex-convict who was currently charged with sexually assaulting an eight-year-old girl, and who was also looking for a sentence reduction from Brady in exchange for his testimony. Further, in contrast to the first trial, Rappe's history of promiscuity and heavy drinking was detailed. The second trial also discredited some major evidence such as the identification of Arbuckle's fingerprints on the hotel bedroom door: Heinrich took back his earlier testimony from the first trial and testified that the fingerprint evidence was likely faked. The defense was so convinced of an acquittal that Arbuckle was not called to testify. Arbuckle's lawyer, McNab, made no closing argument to the jury. However, some jurors interpreted the refusal to let Arbuckle testify as a sign of guilt. After over 40 hours of deliberation, the jury returned February 3, deadlocked with a 10–2 guilty verdict, resulting in another mistrial.

Third trial

By the time of the third trial, Arbuckle's films had been banned, and newspapers had been filled for the past seven months with stories of alleged Hollywood orgies, murder, and sexual perversion. Delmont was touring the country giving one-woman shows as "The woman who signed the murder charge against Arbuckle", and lecturing on the evils of Hollywood.

News story of the six-minute not guilty verdict, 1922.

The third trial began March 13, 1922, and this time the defense took no chances. McNab took an aggressive defense, completely tearing apart the prosecution's case with long and aggressive examination and cross-examination of each witness. McNab also managed to get in still more evidence about Virginia Rappe's lurid past and medical history. Another hole in the prosecution's case was opened because Zey Prevon, a key witness, was out of the country after fleeing police custody and unable to testify. As in the first trial, Arbuckle testified as the final witness and again maintained his denials in his heartfelt testimony about his version of the events at the hotel party. During closing statements, McNab reviewed how flawed the case was against Arbuckle from the very start and how District Attorney Brady fell for the outlandish charges of Maude Delmont, whom McNab described as "the complaining witness who never witnessed". The jury began deliberations April 12, and took only six minutes to return with a unanimous not guilty verdict—five of those minutes were spent writing a formal statement of apology to Arbuckle for putting him through the ordeal; a dramatic move in American justice. The jury statement as read by the jury foreman stated:

Acquittal is not enough for Roscoe Arbuckle. We feel that a great injustice has been done him. We feel also that it was only our plain duty to give him this exoneration, under the evidence, for there was not the slightest proof adduced to connect him in any way with the commission of a crime. He was manly throughout the case and told a straightforward story on the witness stand, which we all believed. The happening at the hotel was an unfortunate affair for which Arbuckle, so the evidence shows, was in no way responsible. We wish him success and hope that the American people will take the judgment of fourteen men and woman who have sat listening for thirty-one days to evidence, that Roscoe Arbuckle is entirely innocent and free from all blame.

After the reading of the apology statement, the jury foreman personally handed the statement to Arbuckle who kept it as a treasured memento for the rest of his life. Then, one by one, the entire 12-person jury plus the two jury alternates walked up to Arbuckle's defense table where they shook his hand and/or embraced and personally apologized to him. The entire jury even proudly posed in a photo op with Arbuckle for photographers after the verdict and apology.

Some experts later concluded that Rappe's bladder might also have ruptured as a result of an abortion she might have had a short time before the September 5 party. Rappe's organs had been destroyed and it was now impossible to test for pregnancy. Because alcohol was consumed at the party, Arbuckle was forced to plead guilty to one count of violating the Volstead Act, and had to pay a $500 fine. At the time of his acquittal, Arbuckle owed over $700,000 (equivalent to approximately $10,000,000 in 2016 dollars) in legal fees to his attorneys for the three criminal trials, and he was forced to sell his house and all of his cars to pay some of the debt.

Although he had been cleared of all criminal charges, the scandal and trials had greatly damaged his popularity among the general public, and Will H. Hays, who served as the head of the newly formed Motion Pictures Producers and Distributors of America (MPPDA) Hollywood censor board, cited Arbuckle as an example of the poor morals in Hollywood. On April 18, 1922, six days after Arbuckle's acquittal, Hays banned Roscoe Arbuckle from ever working in U.S. movies again. He had also requested that all showings and bookings of Arbuckle films be canceled, and exhibitors complied. In December of the same year, under public pressure, Hays elected to lift the ban, but Arbuckle was still unable to secure work as an actor. Most exhibitors still declined to show Arbuckle's films, several of which now have no copies known to have survived intact. One of Arbuckle's feature-length films known to survive is Leap Year, which Paramount declined to release in the United States due to the scandal. It was eventually released in Europe. With Arbuckle's films now banned, in March 1922, Buster Keaton signed an agreement to give Arbuckle 35 percent of all future profits from his company, Buster Keaton Productions, to ease his financial situation.

Similar concurrent scandals

Although it was regarded as Hollywood's first major scandal, the Arbuckle case was one of five major Paramount-related scandals of the period. In 1920, silent film actress Olive Thomas died after accidentally drinking mercury bichloride, which her husband, matinee idol Jack Pickford, had been using as a topical treatment for syphilis; there were rumors that it had been a suicide. In February 1922, the murder of director William Desmond Taylor severely damaged the careers of actresses Mary Miles Minter and former Arbuckle screen partner Mabel Normand. In 1923, actor/director Wallace Reid's dependency on morphine resulted in his death. In 1924, actor/writer/director Thomas H. Ince died mysteriously, aboard William Randolph Hearst's yacht.

After the trials, Hollywood shunned Arbuckle, and he could no longer find work. A secondary effect, for archive history, was the determined destruction of copies of films starring Arbuckle. In November 1923, Minta Durfee filed for divorce, charging grounds of desertion. The divorce was granted the following January. They had been separated since 1921, though Durfee always claimed he was the nicest man in the world and that they were still friends. After a brief reconciliation, Durfee again filed for divorce, this time while in Paris, in December 1924. Arbuckle married Doris Deane on May 16, 1925.

Arbuckle tried returning to filmmaking, but industry resistance to distributing his pictures continued to linger after his acquittal. He retreated into alcoholism. In the words of his first wife, "Roscoe only seemed to find solace and comfort in a bottle". Buster Keaton attempted to help Arbuckle by giving him work on his films. Arbuckle wrote the story for a Keaton short called Daydreams (1922). Arbuckle allegedly co-directed scenes in Keaton's Sherlock, Jr. (1924), but it is unclear how much of this footage remained in the film's final cut. In 1925, Carter Dehaven made the short Character Studies. Arbuckle appeared alongside Buster Keaton, Harold Lloyd, Rudolph Valentino, Douglas Fairbanks, and Jackie Coogan. The same year, in Photoplay's August issue, James R. Quirk wrote "I would like to see Roscoe Arbuckle make a comeback to the screen." He also said "The American nation prides itself upon its spirit of fair play. We like the whole world to look upon America as the place where every man gets a square deal. Are you sure Roscoe Arbuckle is getting one today? I'm not."

Eventually, Arbuckle was given work as a film director under the alias William Goodrich. According to author David Yallop in The Day the Laughter Stopped (a biography of Arbuckle with special attention to the scandal and its aftermath), Arbuckle's father's full name was William Goodrich Arbuckle. Another tale credited Keaton, an inveterate punster, with suggesting that Arbuckle become a director under the alias "Will B. Good". The pun being too obvious, Arbuckle adopted the more formal pseudonym "William Goodrich". Keaton himself told this story during a recorded interview with Kevin Brownlow in the 1960s.

Between 1924 and 1932, Arbuckle directed a number of comedy shorts under the pseudonym for Educational Pictures, which featured lesser-known comics of the day. Louise Brooks, who played the ingenue in Windy Riley Goes Hollywood (1931), told Kevin Brownlow of her experiences in working with Arbuckle:

He made no attempt to direct this picture. He just sat in his director's chair like a dead man. He had been very nice and sweetly dead ever since the scandal that ruined his career. But it was such an amazing thing for me to come in to make this broken-down picture, and to find my director was the great Roscoe Arbuckle. Oh, I thought he was magnificent in films. He was a wonderful dancer—a wonderful ballroom dancer, in his heyday. It was like floating in the arms of a huge doughnut—really delightful.

Among the more visible directorial projects under the Goodrich pseudonym was the Eddie Cantor feature Special Delivery (1927), which was released by Paramount and co-starred William Powell and Jobyna Ralston. His highest-profile project was arguably The Red Mill, also released in 1927, a Marion Davies vehicle.

In 1929, Doris Deane sued for divorce in Los Angeles, charging desertion and cruelty. On June 21, 1931, Roscoe married Addie Oakley Dukes McPhail (later Addie Oakley Sheldon, 1905–2003) in Erie, Pennsylvania.

In 1932, Arbuckle signed a contract with Warner Bros. to star under his own name in a series of six two-reel comedies, to be filmed at the Vitagraph studios in Brooklyn. These six short films constitute the only recordings of his voice. Silent-film comedian Al St. John (Arbuckle's nephew) and actors Lionel Stander and Shemp Howard appeared with Arbuckle. The films were very successful in America, although when Warner Bros. attempted to release the first one (Hey, Pop!) in the United Kingdom, the British Board of Film Censors cited the 10-year-old scandal and refused to grant an exhibition certificate.

On June 28, 1933, Arbuckle had finished filming the last of the two-reelers (four of which had already been released). The next day he was signed by Warner Bros. to make a feature-length film. That night he went out with friends to celebrate his first wedding anniversary and new Warner contract where he reportedly said: "This is the best day of my life." He suffered a heart attack later that night and died in his sleep. He was 46. His widow Addie requested that his body be cremated as that was Arbuckle's wish.

Many of Arbuckle's films, including the feature Life of the Party (1920), survive only as worn prints with foreign-language inter-titles. Little or no effort was made to preserve original negatives and prints during Hollywood's first two decades. By the early 21st century, some of Arbuckle's short subjects (particularly those co-starring Chaplin or Keaton) had been restored, released on DVD, and even screened theatrically. Arbuckle's early influence on American slapstick comedy is widely recognised.

For his contribution to the film industry, Roscoe Arbuckle has a star on the Hollywood Walk of Fame located at 6701 Hollywood Blvd.

Arbuckle's nephew and frequent co-star Al St. John

The James Ivory film The Wild Party (1975) has been repeatedly but incorrectly cited as a film dramatization of the Arbuckle–Rappe scandal. In fact it is loosely based on the 1926 poem by Joseph Moncure March. In this film, James Coco portrays a heavy-set silent-film comedian named Jolly Grimm whose career is on the skids, but who is desperately planning a comeback. Raquel Welch portrays his mistress, who ultimately goads him into shooting her. This film was loosely based on the misconceptions surrounding the Arbuckle scandal, yet it bears almost no resemblance to the documented facts of the case.

In Ken Russell's 1977 biopic Valentino, Rudolph Nureyev as a pre-movie star Rudolph Valentino dances in a nightclub before a grossly overweight, obnoxious, and hedonistic celebrity called "Mr. Fatty" (played by William Hootkins), a caricature of Arbuckle rooted in the public view of him created in popular press coverage of the Rappe rape trial. In the scene, Valentino picks up starlet (Jean Acker played by Carol Kane) off a table in which she is sitting in front of Fatty and dances with her, enraging the spoiled star, who becomes apoplectic. The caricature of Arbuckle as a boor continued to be promulgated in the seventies by film writers such as Kenneth Anger in his seminal work Hollywood Babylon.

In an episode of the Mathnet segment of the children's public-television television series Square One Television (Season 2, Episode 1, "The Case of the Willing Parrot," presented in five sections over the course of a week of the overall show), fictitious deceased celebrity Roscoe "Fatty" Tissue was written as a parody of Arbuckle.

Before his death in 1997, comedian Chris Farley expressed interest in starring as Arbuckle in a biography film. According to the 2008 biography The Chris Farley Show: A Biography in Three Acts, Farley and screenwriter David Mamet agreed to work together on what would have been Farley's first dramatic role. In 2007, director Kevin Connor planned a film, The Life of the Party, based on Arbuckle's life. It was to star Chris Kattan and Preston Lacy. However the project was shelved. Like Farley, comedians John Belushi and John Candy also considered playing Arbuckle, but each of them died before a biopic was made. Farley's film was signed with Vince Vaughn as his co-star.

In 2005, jazz trumpet player Dave Douglas releases the album Keystone, dedicated to the work of Roscoe Arbuckle. It contains a DVD which features the movie Fatty and Mabel Adrift (1916/ Keystone – Triangle), starring Roscoe Arbuckle, Mable Normand, Al St. John, and Luke the Dog.

In April and May 2006, the Museum of Modern Art in New York City mounted a 56-film, month-long retrospective of all of Arbuckle's known surviving work, running the entire series twice.

Arbuckle is the subject of a 2004 novel titled I, Fatty by author Jerry Stahl. The Day the Laughter Stopped by David Yallop and Frame-Up! The Untold Story of Roscoe "Fatty" Arbuckle by Andy Edmonds are other books on Arbuckle's life. The 1963 novel, Scandal in Eden by Garet Rogers, is a fictionalized version of the Arbuckle scandal.

Fatty Arbuckle's was an American-themed restaurant chain in the UK prominent during the 1980s and named after Arbuckle.

Stoneface, a 2012 play by Vanessa Claire Stewart about Buster Keaton, depicts Keaton's and Arbuckle's friendship and professional relationship.

Arbuckle is played by actor Brett Ashy in the motion picture Return to Babylon (2013).

Arbuckle reading La Vie Parisienne, c. 1920

• The Gangsters. 1913. Approx. 10 min.
• Fatty Joins the Force. 1913. Approx. 14:30 min.
• Fatty's New Role. 1915. Approx. 10 min.
• The Waiters' Ball. 1916. With Al St. John. Approx. 20 min.
• A Noise from the Deep. 1913. With Mabel Normand. Approx. 10 min.
• Mabel's New Hero. 1913. With Mabel Normand. Approx. 10 min.
• His Sister's Kids. 1913. With Minta Durfee. Approx. 10 min.
• A Flirt's Mistake. 1914. With Edgar Kennedy. Approx.10 min.
• Mabel's Blunder. 1914. With Mabel Normand. Approx 13:30 min.
• A Bath House Beauty. 1914. With Minta Durfee. Approx. 10 min.
• Those Country Kids. 1914. With Mabel Normand. Approx. 10 min.
• The Rounders. 1914. With Charles Chaplin. Approx. 10 min.
• Tango Tangles. 1914. With Charles Chaplin, Ford Sterling, and Minta Durfee. Approx. 12 min.
• Lover's Luck. 1914. With Minta Durfee. Approx. 10 min.
• Fatty's Jonah Day. 1914. With Norma Nichols. Approx. 10 min.
• Mabel and Fatty's Simple Life (Fatty and Mabel's Simple Life). 1915. With Mabel Normand. Approx. 20 min.
• Mabel, Fatty and the Law. 1915. (Fatty's Spooning Days). Approx. 11 min.
• Wished on Mabel. 1915. With Mabel Normand. Approx. 10 min.
• Mabel and Fatty's Married Life (Fatty and Mabel's Married Life). 1915. With Mabel Normand. Approx. 10 min.
• Miss Fatty's Seaside Lovers. 1915. With Harold Lloyd. Approx. 10 min.
• Fatty's Tintype Tangle. 1915. With Louise Fazenda, Edgar Kennedy. Approx. 20 min.
• Fatty's Reckless Fling. 1915. Approx. 10 min.
• Fatty's Plucky Pup. 1915. 6:35 min.
• Fatty's Faithful Fido. 1915. With Luke the dog. Approx. 10 min.
• That Little Band of Gold. 1915. With Mabel Normand, Ford Sterling. Approx. 20 min.
• He Did and He Didn't. 1916. With Mabel Normand. Approx. 20 min.
• Fatty and Mabel Adrift. 1916. With Mabel Normand. Approx. 30 min.
• His Wife's Mistake. 1916. With Minta Durfee. Approx. 20 min.
• A Reckless Romeo. 1917. With Al St. John. Approx. 20 min
• A Creampuff Romance. 1917. Approx. 22 min.
• The Butcher Boy. 1917. With Buster Keaton (film debut) and Al St. John. Approx. 20 min.
• The Rough House. 1917. With Buster Keaton. Approx. 20 min.
• His Wedding Night. 1917. With Buster Keaton, Al St. John. Approx. 20 min.
• Coney Island. 1917. With Buster Keaton, Al St. John. Approx. 20 min.
• Out West. 1918. With Buster Keaton, Al St. John. Approx. 20 min.
• Moonshine. 1918. With Buster Keaton, Al St. John. Approx. 20 min.
• A Scrap of Paper. 1918. With Al St. John. Approx. 5 min.
• Good Night, Nurse. 1918. With Buster Keaton, Al St. John. Approx. 20 min.
• The Cook. 1918. With Buster Keaton, Al St. John. Approx. 20 min.
• The Hayseed. 1919. With Buster Keaton, Jack Coogan, Sr. Approx. 20 min.
• Back Stage. 1919. With Buster Keaton, Al St. John. Approx. 20 min.
• The Round-Up. 1920. With Tom Forman, Jean Acker, Wallace Beery. Approx. 70 min.
• Camping Out. 1919. With Al St. John. Approx. 20 min.
• Love. 1919. With Al St. John. Approx. 20 min.
• Life of the Party. 1920. With Viora Daniel, Roscoe Karns. Approx. 50 min.
• The Garage. 1920. With Buster Keaton. Approx 20 min.
• Leap Year. 1921. Directed by James Cruze, with Lucien Littlefield and Mary Thurman. Approx 56 min.
• Gasoline Gus. 1921. Directed by James Cruze, with Lila Lee.

Director

• Special Delivery. 1922. With Al St. John, Vernon Dent. Approx. 20 min.
• No Loafing. 1923. With Poodles Hanneford, Joe Roberts. (a surviving fragment of a two-reel short) Approx. 8 min.
• Stupid, But Brave. 1924. With Al St. John, George Davis. Approx. 20 min.
• The Movies. 1925. With Lloyd Hamilton. Approx. 20 min.
• Curses!. 1925. With Al St. John, Bartine Burkett. Approx. 20 min.
• The Iron Mule. 1925. With Al St. John, Glen Cavender. Approx. 20 min.
• Dynamite Doggie. 1925. With Al St. John, Pete the Pup. Approx. 20 min.
• His Private Life. 1926. With Lupino Lane, George Davis. Approx. 20 min.
• Home Cured. 1926. With Johnny Arthur, Virginia Vance. Approx. 20 min.
• Fool's Luck. 1926. With Lupino Lane, George Davis. Approx. 20 min.
• My Stars. 1926. With Johnny Arthur, Virginia Vance, Florence Lee. Approx. 20 min.
• The Red Mill. 1927. With Marion Davies, Owen Moore, Louise Fazenda, George Siegmann. Approx. 70 min.
• Special Delivery. 1927. With Eddie Cantor, Jobyna Ralston, William Powell. Approx. 60 min.
• Bridge Wives. 1932. With Al St. John, Fern Emmett. Approx. 10 min.

Vitagraph shorts

• Hey, Pop! 1932. With Billy Hayes. Approx. 20 min.
• In the Dough. 1932. With Lionel Stander and Shemp Howard. Approx. 20 min.
• Close Relations. 1933. With Charles Judels, Harry Shannon, and Shemp Howard. Approx. 20 min.
• Buzzin' Around. 1933. With Al St. John and Pete the Pup. Approx. 20 min.
• How've You Bean? 1933. With Fritz Hubert. Approx. 20 min.
• Tomalio. 1933. With Charles Judels. Approx. 20 min.