Al St. John (also credited as Al Saint John and "Fuzzy" St. John; September 10, 1892 – January 21, 1963) was an early American motion-picture comedian. He was a nephew of silent film star Roscoe "Fatty" Arbuckle, with whom he often performed on screen. St. John was employed by Mack Sennett and also worked with many other leading players such as Charlie Chaplin, Buster Keaton and Mabel Normand. His film career successfully transitioned from the silent era into sound, and by the late 1930s and 1940s he was working predominantly in Westerns, often portraying the scruffy comedy-relief character "Fuzzy Q. Jones". Among his notable performances in that role are in the "Billy the Kid" series of films released by the Producers Releasing Corporation from 1940 to 1946 and in that company's "Lone Rider" series from 1941 to 1943. Early life, family and education Alfred St. John was born in Santa Ana, California. He was the only child of parents Walter St. John, who supported the family initially as a farm laborer and later as a house builder, and Nora N. St. John (née Arbuckle), who was the older sister of actor Roscoe "Fatty" Arbuckle. His uncle Roscoe, was five years older than Alfred. Career Young "Al" entered silent films in 1911 to work as an extra and in minor character roles. Soon, however, he graduated to co-starring and then to starring roles in comedy shorts for a variety of studios. St. John frequently appeared as Arbuckle's mischievously villainous rival for the attentions of leading ladies such as Mabel Normand and Minta Durfee. He worked with Arbuckle and Charles Chaplin in The Rounders (1914), although his most critically praised film during this period with Arbuckle remains Fatty and Mabel Adrift (1916). In France, he was billed as "Picratt." When Arbuckle formed his own production company, he brought St. John with him and recruited stage star Buster Keaton into his films, creating a formidable roughhouse trio. After Arbuckle was involved in a widely publicized scandal that prevented him from appearing in movies, he pseudonymously directed his nephew Al as a comic leading man in silent and sound films such as The Iron Mule (1925) and Bridge Wives (1932). Dozens of St. John's early films were screened during the 56-film Arbuckle retrospective at the Museum of Modern Art in New York City in 2006. As St. John's screen career continued through the 1930s,