Comments on Screen Savour: The Short Films of Buster Keaton (1920-1923)

(Hi, everybody. Sorry for the delay in response; I...

2009-08-11T08:51:31.808-04:00

(Hi, everybody. Sorry for the delay in response; I'm traveling this week!)

@John — I hear what you're saying about Chaplin v. Keaton in terms of behind-the-camera knowledge. Reportedly Chaplin once said that he didn't need to worry about cinematography because all that was necessary was to place it upon a tripod, point it at him, and start filming. Keaton understood all the options the camera afforded him and manipulated them to great success. Naturally, though, I still think that speaks highly of Chaplin (as no doubt you do as well) that he was still able to create these utter masterpieces using really nothing else other than his body and his persona. Keaton probably wouldn't have been able to do that, but then again, he didn't have to.

@Sam — Thanks. You know, sometimes I feel like I sell The Balloonatic a little short. It's not among my favorites, although I do love the sequence on top of the balloon at the beginning and that bear scene does bring a smile to my face as I recall it. That short also speaks to the extreme causal relationship in Keaton's plots; like Cops, the ending seems to occur completely unconnected to the original angle of the story. It's very risky to do, but I think he pulls it off well.

@MovieMan — Actually, I find myself agreeing with you about short films, but still: experimental, animated, and comedy still provide hundreds of possibilities. That's one of the quirks I find rewarding about Jonathan Rosenbaum's 1,000 favorite films — he incorporates shorts onto the list. It's just sad that few others embrace them as works of art on par (or better than) many features.

I actually do think the short film is largely poin...

2009-08-07T13:09:02.834-04:00

I actually do think the short film is largely pointless, with the exception of animation, experimental, and comedy. But I cannot engage further with your piece as pressing duties pull me from the computer at present...just wanted to register my own thoughts on that matter.

"Certainly the most prevailing interest he ha...

2009-08-06T22:59:03.552-04:00

"Certainly the most prevailing interest he had was with the tension between man and technology — specifically how such technology designed to provide comfort ended up causing so much pain."

Indeed T.S., indeed. This surely lies at the center of his art. You have started your examination of Keaton with a marathon essay that takes up this critical period in his maturation as an artist, While you rightly mention later on that the superb BATTLIN BUTLER and OUR HOSPITALITY are gems, you note (after that spectacular historical lead-in) that there are several that either achieve masterpiece status or come close. I have seen all of these shorts but two. I agree with you that COPS is the masterpiece, but I do love NEIGHBORS, PLAY HOUSE, ELECTRIC HORSE, SCARECROW, ONE WEEK, HIGH SIGN and ELECTRIC HOUSE (the sets for the latter ones I mention here are as you note quite 'elaborate.) I also rather love one that you are a little less enamored of, THE BALLOONATIC, which contains agreat bear gag that relies on no deception. It's natural and priceless. In any case, I always considered THE BALLONATIC one of the best shorts.

Incidentally, that final gravestone shot in COPS with Keaton's hat hung after it (a sly philosophical suggestion) is one of teh greatest individual frames in all of Keaton.

There is so much more to say, but suffice that you have done this period full and glorious justice.

T.S. – an excellent start to your Keaton series. Y...

2009-08-06T08:12:58.011-04:00

T.S. – an excellent start to your Keaton series. You seem to hit all the right points on Buster and his career.

1- His association with producer Joseph Schenck…

“provided the largesse and independent approach that gave Keaton the opportunity to make the films he did.” So true, when Keaton lost his independence, they (MGM) destroyed a creative genius.

2- Keaton was cinematic

“Keaton saw film as film. He would not have been able to do what he did in any other art-form, and this knowledge seemed to both liberate and invigorate him.” Keaton was, as Alfred Hitchcock once coined “pure cinema.”

First let me say, I love Chaplin and I am not bashing Chaplin or pitting one genius against another. That said, Keaton understood the camera, and what it could do more than Chaplin. The genius of Chaplin’s shorts and most of his work is in his heart and his routines, as you point out. This is not to say that Chaplin was never cinematically adept and did not understand the power of the camera. There is an early scene in “The Immigrant”, where Charlie is leaning over the side of the ship looking like he is seasick and letting it all out. Instead, when he turns around we find out he is fishing. What separates Keaton and Chaplin, as you astutely point out is the technical aspects of film; the use of double exposure in “The Playhouse”, for example. I would imagine this was pretty much of a “wow’ moment for audiences of the day.

3- The Chase

Again, as you so astutely point out, the chase was an essential part of Keaton’s world, in his shorts and in his features (The General is one long chase).

Thanks for a great article. Have you watched any the Keaton/Fatty Arbuckle/ Al St. John shorts? They are not in the same class, and of course, Fatty Arbuckle is the star with Buster a feature actor, still there are some decent ones and are interesting, if for no other reason than historical. Of the ones I have seen, “The Butcher Boy” is best, especially when Buster shows up later in the film.

Of Keaton’s classic shorts my favorites are Cops, The Electric House, The Playhouse, One Week, The High Sign and The Blacksmith.

Truly a good actor and very funny. I always tend t...

2009-08-05T21:29:00.973-04:00

Truly a good actor and very funny. I always tend to get him mixed up with Chaplin