Written, directed, and narrated by Peter Bogdanovich, The Great Buster: A Celebration is a documentary film that explores the life, career, and influence of silent film star/filmmaker Buster Keaton. Featuring interviews from various filmmakers, historians, actors, and comedians, the film follows the man’s life as well as his struggles to be relevant when silent films ended as well as the long overdue adulation he would ultimately receive before his passing in 1966 at the age of 70. The result is a rich and exhilarating film from Peter Bogdanovich.
In the 1920s, one of the biggest stars of the silent film era was Buster Keaton whose stone-faced look and elaborate approach to physical comedy and action as it would influence many in the years to come. The film explores not just Keaton’s life including his struggles to make movies during the post-silent film era but also in some of his failures he would endure and comeback during the late 1940s. Narrated by its writer/director Peter Bogdanovich who shows a clip of himself on The Dick Cavett Show in the early 1970s with filmmaker Frank Capra as they talk about Keaton’s influence in cinema as other filmmakers ranging from comedy filmmakers like Mel Brooks and Carl Reiner to the likes of Werner Herzog, Quentin Tarantino, and Jon Watts as they all talk about what Keaton brought to the world of cinema. Watts especially as he reveals that Keaton’s stone-faced expression was an inspiration to the look of Spider-Man under his mask in Spider-Man: Homecoming.
The film also goes into depth into Keaton’s personal life through historians and those who knew him including actors Norman Lloyd and Dick Van Dyke while comedian Richard Lewis talks about his friendship with Keaton’s widow Eleanor Norris as she would give him her husband’s famed hat. Actors/comedians such as Cybill Shepherd, Nick Kroll, Bill Hader, French Stewart, and Johnny Knoxville also talk about Keaton’s films and his approach to physical comedy as Knoxville reveals that part of the reasons he created Jackass and its films was to do stupid stunts but also to understand how Keaton was able to perfect the stunts and set pieces he created in his films. Much of the narrative that Bogdanovich creates is largely straightforward but it also play into the decline in his career as it relates to his time working with MGM where Keaton lost a lot of his creative control as several colleagues including Charles Chaplin urged Keaton to not sign with MGM but Keaton ended up taking the advice of those who were managing his business as it ended up being a bad business deal.
After two failed marriages and a career that is nearly dead, it would be his marriage to MGM dancer Eleanor Norris that would help as he would be hired by MGM to write gags and such as well as direct a gag for other filmmakers. The work for MGM and appearances in commercials and television would help revive Keaton’s career and financial fortunes as it would give him a memorable cameo in Billy Wilder’s Sunset Boulevard as well as a memorable appearance in Chaplin’s 1952 film Limelight where the two shared the screen together. Lloyd revealed that Chaplin brought Keaton just to work with him and help him out as they created a great scene while the finale was partially directed by Keaton who helped Chaplin out with the scene. Many also discussed that as great as a filmmaker and physical comedian that Keaton is, some say he is underrated as an actor as historians and filmmakers do feel that Keaton had a lot more to offer. Even in his final years as it play into the films he was doing such as Beach Blanket Bingo as he was dealing with ill health but was enjoying his work.
Much of Bogdanovich’s direction is straightforward in the interviews which were shot with cinematographer Dustin Pearlman as it allow those who are interviewed the chance to be in their own world but also express their love for Keaton. Yet, it is through the footage of Keaton’s films and other archival footage that is the meat of the film with the aid of editor Bill Berg-Hillinger who would cultivate all of the footage including some of the rare TV clips and commercials. One aspect of the film that is crucial to the film are clips from the documentary Buster Keaton Rides Again which was a making-of documentary about a short film Keaton was making as it would be one of his last films. Sound editor David Barnaby would gather some audio archives as well as do some remastering in some of the film clips while music supervisor Chris Robertson cultivates an array of music scores from all of the film that Keaton was in as it help play into the humor and somber aspects of his life.
The Great Buster: A Celebration is an incredible film from Peter Bogdanovich. It’s a documentary that does a lot to explore the genius of Buster Keaton as well as the legacy he’s created in the world of film and the admirers he had gained for many years. Even as it showcases his films and why people love them as well as a look into his struggles after his years of stardom and control had faded away only to regain his dignity and overdue adulation he would receive for his gift. In the end, The Great Buster: A Celebration is a marvelous film from Peter Bogdanovich.
Buster Keaton Films: (The Rough House) – (One Week (1920 Short)) – (Convict 13) – (The Scarecrow (1920 short)) – (Neighbors (1920 short)) – (The Haunted House (1921 short)) – (Hard Luck (1921 short)) – (The High Sign) – (The Goat (1921 short)) – (The Playhouse) – (The Boat) – (The Paleface) – (Cops) – (My Wife’s Relations) – (The Blacksmith) – (The Frozen North) – (The Electric House) – (Day Dreams (1922 short)) – (The Balloonatic) – (The Love Nest) – (Three Ages) – (Our Hospitality) – Sherlock Jr. - The Navigator (1924 film) - Seven Chances - (Go West (1925 film)) – (Battling Butler) – The General (1926 film) - (College (1927 film)) – Steamboat Bill Jr. - The Cameraman - (Spite Marriage) – (The Gold Ghost) – (Allez Oop) – (Tars and Stripes) – (Gland Slam Opera) – (One Run Elmer) – (Blue Blazes) – (Mixed Magic) – (Love Nest on Wheels)
Peter Bogdanovich Films: Targets - (Voyage to the Planet of Prehistoric Women) – (Directed by John Ford) – The Last Picture Show - (What’s Up Doc?) – Paper Moon - (Daisy Miller) – (At Long Last Love) – (Nickelodeon) – (Saint Jack) – (They All Laughed) – (Mask (1985 film)) – (Illegally Yours) – (Texasville) – (Noises Off) – (The Thing Called Love) – (To Sir with Love II) – (The Price of Heaven) – (Rescuers: Stories of Courage: Two Women) – (Naked City: A Killer Christmas) – (A Saintly Switch) – (The Cat’s Meow) – (The Mystery of Natalie Wood) – (Hustle (2004 film)) – (Runnin’ Down a Dream) – (She’s Funny That Way)
© thevoid99 2020
Directed by Buster Keaton and Charles Reisner and written by Keaton and Carl Harbaugh, Steamboat Bill Jr. is the story of a young man who reluctantly joins the crew of his father’s steamboat as a way to be a captain like his father. The film is a silent comedy that explore a man trying to help his father save the business as well as deal with what is expected of him as Buster Keaton plays the titular role. Also starring Ernest Torrence, Marion Byron, Tom Lewis, James T. Mack, and Tom McGuire. Steamboat Bill Jr. is a sensational film from Buster Keaton and Charles Reisner.
The film is a simple story about this college graduate who travels from Boston to the Mississippi River to visit his steamboat captain father whom he hadn’t seen since he was a baby. There, he finds himself trying to do what his father does to please him while dealing with his father’s rival whose daughter is someone he’s in love with and went to school with. It’s a film that has this young man trying to find his way to a world that is so foreign to him yet bumbles his way to understand life in a steamboat. The film’s script is more driven by William Canfield Jr. and his attempt to please his father as well as win over Kitty King (Marion Byron). Still, there are complications as William’s father (Ernest Torrence) has a steamboat that is old and falling apart as he is forced to compete with the town’s richest man in John James King (Tom McGuire) who doesn’t approve of William Jr. because of his father.
The film’s direction by Charles Reisner and an un-credited Buster Keaton is quite sprawling for the world they create from the look of the river and town as well as the steamboats where Canfield‘s steamboat looks old and worked up while King is new, rich, and filled with a lot as it play into the personalities of these two men. The direction has these rich compositions with some unique wide and medium shots to capture the landscape with the latter providing some scenery in some of the gags that Keaton would create. Notably as he maintains a simplicity and straightforward approach to the way his character would act in these situations only to screw things up.
One of the film’s greatest moments involves this cyclone with these huge winds and set pieces that are just astronomical. Notably in how Reisner and Keaton would set up the moment and the framing as well as the stunts that Keaton would perform during the whole thing. Even in a scene where the wall of a house would fall while William Jr. is standing at a spot and come out unscathed. It’s among these moments that really showcases what Keaton is willing to do just to create some laughs which he does succeed and more. Overall, Keaton and Reisner create a very whimsical yet spellbinding film about a young man trying to please his father by working at his father’s steamboat.
Cinematographers Bert Haines and Devereaux Jennings do excellent work with the film‘s black-and-white cinematography to play into the sunny look of the daytime exteriors while using some lights for some of the scenes set at night. Editor Sherman Kell does brilliant work with the editing as it‘s largely straightforward with some rhythmic cutting to play into the humor as well as the transition to inter-titles. Music supervisor Gaylord Carter provides a nice music accompaniment that is a mixture of jazz and ragtime to play into the comical energy of the film.
The film’s superb cast include a couple of small roles from James T. Mack as a minister and Tom Lewis as the first mate for Canfield Sr while the performances of Tom McGuire and Ernest Torrence in their respective roles as John James King and William Canfield Sr. are just hilarious as they play the fall guys who don’t like each other and don’t approve of William Jr. and Kitty being together. Marion Byron is fantastic as King’s daughter Kitty as this young woman who is a classmate of William Jr. as she helps him look the part of a steamboat crew member while also having some feelings for him. Finally, there’s Buster Keaton in an incredible performance as the titular character as this college man who isn’t the strongest guy to work inside a steamboat but certainly determined while Keaton manages to use his physicality and wit to create a performance that is just so fun to watch.
Steamboat Bill Jr. is a phenomenal film from Buster Keaton and Charles Reisner. It’s a film that isn’t just one of the finest silent comedies ever made but also displays a sense of ambition of what Keaton was trying to do with the art form and more. In the end, Steamboat Bill Jr. is a tremendous film from Buster Keaton and Charles Reisner.
Buster Keaton Films: (The Rough House) - (One Week (1920 short)) - (Convict 13) - (The Scarecrow (1920 short)) - (Neighbors (1920 short)) - (The Haunted House (1921 short)) - (Hard Luck (1921 short)) - (The High Sign) - (The Goat (1921 short)) - (The Playhouse) - (The Boat) - (The Paleface) - (Cops) - (My Wife’s Relations) - (The Blacksmith) - (The Frozen North) - (The Electric House) - (Day Dreams (1922 short)) - (The Balloonatic) - (The Love Nest) - (Three Ages) - (Our Hospitality) - Sherlock Jr. - The Navigator (1924 film) - Seven Chances - (Go West (1925 film)) - (Battling Butler) - The General (1926 film) - (College (1927 film)) - The Cameraman - (Spite Marriage) - (The Gold Ghost) - (Allez Oop) - (Tars and Stripes) - (Grand Slam Opera) - (One Run Elmer) - (Blue Blazes) - (Mixed Magic) - (Love Nest on Wheels)
© thevoid99 2016
Directed by Buster Keaton and Edward Sedgwick and written by Clyde Bruckman, Lew Lipton, and Joseph Farnham, The Cameraman is the story of a young man who tries to win over a secretary for MGM by becoming a cameraman for films and newsreels. The film is a silent comedy-adventure in which Keaton plays the titular role as it plays into a man trying to make it in the world of film. Also starring Marceline Day and Harry Goodwin. The Cameraman is a dazzling and exhilarating film from Buster Keaton and Edward Sedgwick.
The film plays into the world of a tintype portrait photographer who decides to become a newsreel cameraman in the hopes to win over a secretary working for MGM’s newsreel office. It’s a story that is quite simple as it plays into a man just trying to impress a girl but also finding himself into this new world of shooting a movie camera which has no clue on how to work on while the camera itself is a very old one. Throughout this young man’s journey, a lot of trials and tribulations ensue as he’s mocked by other cameramen while having some strange encounters with a police officer that add to the sense of hilarity all in this man’s determination to win over this young woman.
The film’s direction by Buster Keaton and Edward Sedgwick is quite thrilling in terms of the stunt work that Keaton would provide in his performances. Even in some elaborate moments where Keaton would create scenes that play into his character trying to fit in or be used as a joke. Through its simple yet engaging use of wide and medium shots, a lot of the action is captured as well as a notable scene where the young cameraman captures a gang war in the middle of Chinatown as the use of different angles come into play as there’s a sense of excitement that is captured.
There’s also some very tender moments where the direction plays off the romance between the titular character and the woman he is in love with Sally (Marceline Day) as Keaton and Sedgwick uses some amazing close-ups to capture the romance at its most innocent. Even as Keaton’s character is being humiliated while Sally tries to help as she would nearly get into trouble as the film’s climax wouldn’t just play into the cameraman trying to win her over but also get the respect of the people at MGM. Overall, Keaton and Sedgwick create a very exciting and fun film about a cameraman trying to get his shot to work for MGM and to win over a girl.
Cinematographers Reggie Lanning and Elgin Lessley do excellent work with the film‘s black-and-white photography in capturing the excitement of the scenes in the daytime along with a rainy nighttime sequence in a key moment where Keaton has another bad encounter with a policeman. Editors Hugh Wynn and Basil Wrangel do brilliant work with the editing from the usage of dissolves for the first film footage the cameraman brings to the MGM newsreel boss to the rhythmic cuts to capture the humor. Set decorator Fred Gabourie does fantastic work with the look of the MGM office and its glass window that serves as a continuous gag as well as the aquatic center where the cameraman and Sally try to go on a date. The film’s music by Arthur Barrow, from its 2002 restored edition, is superb for its playful score that features a lot of organs and harmoniums to capture the film’s humor and romantic tone.
The film’s phenomenal cast includes some notable small roles from Edward Brophy as a man the cameraman was forced to share a changing room at, Vernon Dent as a man in a very small bathing suit, Harry Gribbon as the policeman who would have very funny encounters with the cameraman, Sidney Bracey as the MGM newsreel boss, and Harold Goodwin as the arrogant cameraman Harold who thinks the titular character is a total joke. Marceline Day is brilliant as Sally as a MGM newsreel secretary who is charmed by the titular character as she tries to help him while being the one person who is nice to him. Finally, there’s Buster Keaton in a remarkable performance as the titular character as this young man that wants to be a cameraman as Keaton displays great physicality into his performance as well as his stunt work and willingness to work with anything including a little monkey that would steal the film from him.
The Cameraman is an incredible film from Buster Keaton and Edward Sedgwick. The film isn’t just one of Keaton’s quintessential films as well as one of the finest films of silent cinema. It’s a film that showcases the art of comedy and how Keaton is able to create elaborate stunts and performances that add so much more to the genre. In the end, The Cameraman is a spectacular film from Buster Keaton and Edward Sedgwick.
Buster Keaton Films: (The Rough House) - (One Week (1920 short)) - (Convict 13) - (The Scarecrow (1920 short)) - (Neighbors (1920 short)) - (The Haunted House (1921 short)) - (Hard Luck (1921 short)) - (The High Sign) - (The Goat (1921 short)) - (The Playhouse) - (The Boat) - (The Paleface) - (Cops) - (My Wife’s Relations) - (The Blacksmith) - (The Frozen North) - (The Electric House) - (Day Dreams (1922 short)) - (The Balloonatic) - (The Love Nest) - (Three Ages) - (Our Hospitality) - Sherlock Jr. - The Navigator - Seven Chances - (Go West (1925 film)) - (Battling Butler) - The General - (College (1927 film)) - Steamboat Bill Jr. - (Spite Marriage) - (The Gold Ghost) - (Allez Oop) - (Tars and Stripes) - (Grand Slam Opera) - (One Run Elmer) - (Blue Blazes) - (Mixed Magic) - (Love Nest on Wheels)
© thevoid99 2015
Based on the play by Roi Cooper Megrue, Seven Chances is the story of a young heir who must find a bride to marry before 7PM to collect the money his grandfather is giving him as part of his inheritance. Directed, starring, and edited by Buster Keaton and screenplay by Clyde Bruckman, Jean Havez, and Joseph A. Mitchell from a story by David Belasco, the film is set in the span of an entire day where a man has to marry someone where a lot of craziness ensues during the day. Also starring T. Roy Barnes, Snitz Edwards, Jean Arthur, and Ruth Dwyer. Seven Chances is a hilarious film from Buster Keaton.
The film is a simple story where a young man is about to inherit $7 million on his 27th birthday if he can marry someone by 7PM. It’s a film that takes this simple premise where a young man is in love with someone but his screw-ups forces him to try and find other brides with the help of his business partner and a lawyer as chaos ensues. All of which plays into a series of events where Jimmie Shannon (Buster Keaton) is put into a situation as it climaxes with a wild chase as news was revealed about what he needs in a desperate attempt to claim his fortune.
Buster Keaton’s direction has elements of simplistic images from the opening sequence of Jimmie spending time with his girlfriend Mary (Ruth Dwyer) as he tries to tell her that he loves her. Much of it involves some unique medium shots and a few gags as Keaton does start things off in a simple manner to build up the humor of the story once Jimmie’s situation comes into play. Especially as the gags become more inventive in a sequence where Jimmie tries to talk to many prospects only to fail where Keaton’s rhythmic editing help play to the timing of the gags. All of which leads to a climax where Jimmie is being chased by lots of brides where Keaton’s use of wide shots, tracking dolly shots, and crane camera angles come into play. Especially where Keaton would perform these crazy stunts to play into Jimmie’s own predicament as he is trying to avoid all of these brides in a climax that is thrilling and full of laughs. Overall, Keaton creates a very fun and exciting film about a guy trying to get married to collect his inheritance.
Cinematographers Byron Houck and Elgin Lessley do brilliant work with the film‘s black-and-white photography though it‘s mostly presented in a sepia-like tone with the exception of an early version of Technicolor film stock for the film‘s opening sequence. Art director Fred Gabourie does nice work with the minimal set pieces from the home where Mary lived as well as the country club that Jimmie goes to. The film’s music by Robert Israel (for its 1995 reissue) is amazing for its very playful piano score with some orchestral flourishes to play into the film‘s humor and sense of adventure.
The film’s excellent cast includes some notable small roles from Jean Arthur as a country club receptionist, Frances Raymond as Mary’s mother, Erwin Connelly as the clergyman, Snitz Edwards as the lawyer, and T. Roy Barnes as Jimmie’s business partner who tries to help him. Ruth Dwyer is wonderful as Jimmie’s girlfriend Mary who is baffled into why he wants to get married immediately as she tries to figure out what is going on. Finally, there’s Buster Keaton in an incredible performance as Jimmie Shannon as this guy who learns he’s about to collect a major inheritance as he copes with his situation as Keaton brings a lot of guts into his stunt work including scenes where he is running down a hill with rocks behind him as well as the chase sequence as it’s one of Keaton’s finest performances.
Seven Chances is a remarkable film from Buster Keaton. While it does have a few flaws that play into that time period, it is still a very entertaining film that has a fun premise that manages to deliver and more. In the end, Seven Chances is a sensational film from Buster Keaton.
Buster Keaton Films: (The Rough House) - (One Week (1920 short)) - (Convict 13) - (The Scarecrow (1920 short)) - (Neighbors (1920 short)) - (The Haunted House (1921 short)) - (Hard Luck (1921 short)) - (The High Sign) - (The Goat (1921 short)) - (The Playhouse) - (The Boat) - (The Paleface) - (Cops) - (My Wife’s Relations) - (The Blacksmith) - (The Frozen North) - (The Electric House) - (Day Dreams (1922 short)) - (The Balloonatic) - (The Love Nest) - (Three Ages) - (Our Hospitality) - Sherlock Jr. - The Navigator - (Go West (1925 film)) - (Battling Butler) - The General - (College (1927 film)) - Steamboat Bill Jr. - The Cameraman - (Spite Marriage) - (The Gold Ghost) - (Allez Oop) - (Tars and Stripes) - (Grand Slam Opera) - (One Run Elmer) - (Blue Blazes) - (Mixed Magic) - (Love Nest on Wheels)
© thevoid99 2015
Directed by Buster Keaton and Donald Crisp and written by Keaton, Clyde Bruckman, Jean C. Havez, and Joseph A. Mitchell, The Navigator is the story of a young rich man who boards on a cruise ship unaware that he and his girlfriend are the only passengers are there due to some devilish scheme. It’s a film that plays into the misadventures of a young man and his girlfriend as the former tries to impress the latter. Starring Buster Keaton and Kathryn McGuire. The Navigator is an extremely funny and entertaining film from Buster Keaton and Donald Crisp.
It’s a film with a very simple premise about two spoiled rich kids who both go aboard on a cruise ship unaware that they’re the only people onboard due to a scheme made by a rival faction during a war. Along the way, these two kids are forced to fend for themselves as they deal with being alone in a cruise ship as a lot of hilarity ensue as it’s a film that showcases what happens when two people who often have people do things for them are forced to make their own coffee and cook their own food. It’s simple premise adds to a lot of ideas of what could be done and the screw ups that these two character have to endure.
The film’s direction by Buster Keaton and Donald Crisp is definitely ambitious in terms of its set pieces and stunt work that is created where much of the film takes place on this cruise ship. Especially as Keaton and his co-star Kathryn McGuire create some intricate stunt work and gags that add to the sense of two spoiled kids having to fend for themselves. The use of medium shots and wide shots on this ship add to the humor such as a scene where Keaton and McGuire are running around the ship trying to find each other as Keaton’s editing would help play to that humor with some unique rhythmic cuts. Even as Keaton would slow things down to play into the sense of not knowing where he and McGuire would be shot in medium shots while each providing subtle moments into their performances. Overall, Keaton and Crisp creates a very funny and thrilling film about two spoiled young adults stuck on a cruise ship by themselves.
Cinematographers Byron Houck and Elgin Lessley do excellent work with the film‘s black-and-white photography from the interior scenes at night to the daytime scenes set on the ship. Costume designer Clare West does brilliant work with the costumes from the rich clothes the main characters wear to the sailor uniforms they would have to wear. The film’s music by Robert Israel (for its 1995 reissue) is fantastic for its very playful score as it is driven by piano and an orchestra to capture some of the antics in the film.
The film’s superb cast include some notable small roles from H.N. Clugston and Clarence Burton as the two spies that would be responsible for the ship to drift, Noble Johnson as a cannibal chief, Donald Crisp as scary picture, and Frederick Vroom as the girl’s father who sold the ship that plays a key part in the film. Finally, there’s the duo of Kathryn McGuire and Buster Keaton in incredible performances in their respective roles as Betsy O’Brien and Rollo Treadaway. McGuire serves as a great foil for Keaton in terms of the physicality of the comedy as well as being a character that manages to get things down. Keaton displays his mastery in physical comedy and stunt work while proving to do some funny things in little moments as it showcases his gift as a comedy actor.
The Navigator is a phenomenal film from Buster Keaton and Donald Crisp that features a fantastic supporting performance from Kathryn McGuire. The film is definitely one Keaton’s finest films in terms of his approach to physical comedy and how stunts can help provide some of the finest gags captured on film. In the end, The Navigator is a remarkable film from Donald Crisp and Buster Keaton.
Buster Keaton Films: (The Rough House) - (One Week (1920 short)) - (Convict 13) - (The Scarecrow (1920 short)) - (Neighbors (1920 short)) - (The Haunted House (1921 short)) - (Hard Luck (1921 short)) - (The High Sign) - (The Goat (1921 short)) - (The Playhouse) - (The Boat) - (The Paleface) - (Cops) - (My Wife’s Relations) - (The Blacksmith) - (The Frozen North) - (The Electric House) - (Day Dreams (1922 short)) - (The Balloonatic) - (The Love Nest) - (Three Ages) - (Our Hospitality) - Sherlock Jr. - Seven Chances - (Go West (1925 film)) - (Battling Butler) - The General - (College (1927 film)) - Steamboat Bill Jr. - The Cameraman - (Spite Marriage) - (The Gold Ghost) - (Allez Oop) - (Tars and Stripes) - (Grand Slam Opera) - (One Run Elmer) - (Blue Blazes) - (Mixed Magic) - (Love Nest on Wheels)
© thevoid99 2015
Directed and edited by Buster Keaton, with additional direction from Fatty Arbuckle, and written by Clyde Bruckman, Jean Havez, and Joseph A. Mitchell, Sherlock Jr. is the story of a film projectionist who dreams about being in a mystery movie as he finds himself in the movie. The film is a mystery-comedy where a man finds himself being part of a case and does whatever to help the characters in the film. Starring Buster Keaton, Kathryn McGuire, Joe Keaton, and Ward Crane. Sherlock Jr. is a whimsical and dazzling film from Buster Keaton.
The film revolves around a wannabe detective who works as a film projectionist as he dreams about being in a movie where he plays a detective trying to solve a mystery. It’s a film that sort of mirrors what is happening with this young projectionist in the real world as he has been accused of stealing his girlfriend’s father’s pocketwatch and pawning it off. It’s a film that blurs the idea of reality and fiction where this young man dreams that he is in a movie by walking into the movie that he is playing in the theater and becomes part of it. It’s an idea that is truly filled with a lot of imagination as well as ideas of how cinema can shape the direction of a young man. Even as the movie he is in has him fulfilling his own fantasies to become a detective.
Buster Keaton’s direction is definitely filled with lots of imaginative ideas not just in his approach to gags but also in how the ideas of fantasy can play into a young man’s desire to succeed. Much of it involves some inventive use of compositions in the way Keaton frames himself in the projection booth or in medium shots to showcases his approach to comedy. Even as the gags are very spectacular such as a car chase scene or Keaton playing the detective in following the man he suspects. Keaton’s usage of tracking and dolly shots to capture some of the action as well as his own inventive use of editing in a very funny sequence of his character being in one scene and then in another in a rhythmic cutting style that adds to the whimsical tone of the film. Overall, Keaton creates a very charming and majestic film about a young projectionist who wishes to be a detective.
Cinematographers Byron Houck and Elgin Lessley do excellent work with the film‘s black-and-white photography to create some unique lighting schemes for a few of the film‘s interior settings including the sequence where Keaton enters the movie screen. Art director Fred Gabourie does brilliant work with the set pieces from the homes that are used for some very spectacular gags as well as the look of the theater where Keaton‘s character is working at. Costume designer Clare West does superb work with the costumes from the clothes in the real-world scene to the more lavish look of the clothes in the movie-within-a-movie sequence. The film’s music by the Club Foot Orchestra is amazing for its approach to old-school jazz music and orchestral music to play into its humor and romance as it adds a lot of energy to the film.
The film’s fantastic ensemble includes some notable small performances from Erwin Connelly in a dual role as a butler and a hired hand for the film’s villain in the fantasy sequence as well as Joe Keaton in a terrific performance as the girlfriend’s father in both the real-world and fantasy sequences. Ward Crane is excellent as the film’s antagonist in dual versions as the rival in the real-life scene and as the thief in the fantasy scenes. Kathryn McGuire is amazing as the girl whom the film’s protagonist loves as she appears in both the real-life sequences and the fantasy sequences as she is far more interesting in the real-life sequences. Finally, there’s Buster Keaton in a phenomenal performance as the projectionist who wants to be a detective as he would live out his fantasies as the titular character where Keaton’s approach to physical comedy and intricate stunt work is among one of the reasons why he was so revered in the era of silent films.
Sherlock Jr. is a remarkable film from Buster Keaton as it’s definitely one of his finest films as well as one of the essentials in silent comedies. It’s a film that has a lot of ambition but also imagination that manages to showcase what could be done with cinema. Especially as it manages to transcend ideas about reality and fiction. In the end, Sherlock Jr. is an incredible film from Buster Keaton.
Buster Keaton Films: (The Rough House) - (One Week (1920 short)) - (Convict 13) - (The Scarecrow (1920 short)) - (Neighbors (1920 short)) - (The Haunted House (1921 short)) - (Hard Luck (1921 short)) - (The High Sign) - (The Goat (1921 short)) - (The Playhouse) - (The Boat) - (The Paleface) - (Cops) - (My Wife’s Relations) - (The Blacksmith) - (The Frozen North) - (The Electric House) - (Day Dreams (1922 short)) - (The Balloonatic) - (The Love Nest) - (Three Ages) - (Our Hospitality) - The Navigator - Seven Chances - (Go West (1925 film)) - (Battling Butler) - The General - (College (1927 film)) - Steamboat Bill Jr. - The Cameraman - (Spite Marriage) - (The Gold Ghost) - (Allez Oop) - (Tars and Stripes) - (Grand Slam Opera) - (One Run Elmer) - (Blue Blazes) - (Mixed Magic) - (Love Nest on Wheels)
© thevoid99 2015
Based on William Pittenger’s novel The Great Locomotive Chase, The General is the story of a Confederate train driver who steals a Union train during the American Civil War. Directed by Buster Keaton and Clyde Bruckman and screenplay by Keaton, Bruckman, Al Boasberg, Paul Girard Smith, and Charles Henry Smith. The film is a comedy that explores a man’s desire to help the Confederate as well as gain the admiration of his fiancee. Starring Buster Keaton and Marion Mack. The General is a spectacular and adventurous film from Buster Keaton and Clyde Bruckman.
Set in the early years of the American Civil War, the film revolves around a train engineer who wants to enlist in the Confederacy to gain the favor of his girlfriend only to be rejected until he sees his beloved train being captured by Union spies prompting him to be involved. It’s a film with a simple premise but one that manages to play into a sense of adventure as well as what is at stake for the protagonist Johnnie Gray (Buster Keaton). It is clear that he wants to help out in the war but he is seen by some as too valuable for the railroad service as it’s key to the survival of the South. Once the element of suspense emerges where his train known as the General is taken with his beloved Annabelle (Marion Mack) also captured. Gray does what needs to be done where it is more than just about his train and girlfriend but also his home as the Confederates are outnumbered against the Union.
The film’s direction by Buster Keaton and Clyde Bruckman is quite mesmerizing for not just its inspired use of tracking shots and capturing the scenery of its locations. It’s also in the use of wide shots and capturing the vast look of the locations as it’s shot in a small town in Oregon to play into the look of the American South. Much of it involve crowd scenes as well as shots that require massive set pieces and special effects that involve the scenes in the train. There’s also a chase sequence where it’s Keaton that uses his unique approach to physical comedy to play into the sense of adventure and Gray’s determination to be the hero despite the fact that he’s kind of a screw-up. Yet, that adds to the whimsical tone of the film Keaton and Bruckman allow a character to root for as there’s some very intense scenes in the train where he has to do whatever to stop the Union from unleashing their plans.
All of which would lead to a climax that is very sprawling where it’s use of wide and medium shots as well as tracking shots would play into something that is thrilling and explosive. Especially in the fact that it requires moments of suspense and elements of humor as it plays to Grey being in a situation and how he tries to defuse things with some minor success. Overall, Keaton and Bruckman create a very fun and exciting film about a train engineer doing his part for the Confederacy in the American Civil War.
Cinematographers Bert Haines and Devereaux Jennings do brilliant work with the film‘s black-and-white photography with some unique lighting schemes for a key scene in the climatic battle as well as the use of blue filters for the scenes set at night. Editors Buster Keaton and Sherman Kell do amazing work with the editing as it‘s very straightforward with some rhythmic cuts for some of the film‘s action and comical scenes. Art director Fred Gabourie and set decorator Harry Roselotte do fantastic work with the design of the trains as well as the bridges for some of the film‘s extravagant sequences. The film’s special effects by Jack Little are excellent for some of the intense action sequences as well as a key scene where Grey sees Annabelle at a Union cabin. The film’s music by Carl Davis is superb for its thrilling and bombastic orchestral score with themes that play to period of the times as it’s always adding tone to the film in its humor and suspense.
The film’s phenomenal cast includes some notable small roles from Joe Keaton, Mike Donlin, and Tom Nawn as a trio of Union generals, Frederick Vroom as the Confederate general, Charles Henry Smith as Annabelle’s father, Frank Barnes as Annabelle’s brother, and Jim Farley as the Union general Thatcher who would be part of the scheme to attack the Confederates. Glen Cavender is terrific as the Union spy Captain Anderson who leads the train theft as he would also kidnap Annabelle. Marion Mack is brilliant as Annabelle as a woman who loves Johnnie but sees him as a coward when he doesn’t enlist as she would later prove to be useful in the third act where her character isn’t just a foil but also someone that can get things done. Finally, there’s Buster Keaton in a marvelous performance as Johnnie Gray as this young train engineer who is trying to show his courage by trying to save his train and his girl while doing whatever to save his small town from the Union as it’s one of Keaton’s funniest and most touching performances.
The General is a magnificent film from Buster Keaton and Clyde Bruckman. The film is truly not just one of Keaton’s most entertaining films but also a film that is filled with ambition and manages to exceed those ambitions with a sense of humor and adventurous moments. It’s also a film that showcases what could be done in comedy as it’s really one of the finest films in the era of silent comedies. In the end, The General is a tremendously sensational film from Buster Keaton and Clyde Bruckman.
Buster Keaton Films: (The Rough House) - (One Week (1920 short)) - (Convict 13) - (The Scarecrow (1920 short)) - (Neighbors (1920 short)) - (The Haunted House (1921 short)) - (Hard Luck (1921 short)) - (The High Sign) - (The Goat (1921 short)) - (The Playhouse) - (The Boat) - (The Paleface) - (Cops) - (My Wife’s Relations) - (The Blacksmith) - (The Frozen North) - (The Electric House) - (Day Dreams (1922 short)) - (The Balloonatic) - (The Love Nest) - (Three Ages) - (Our Hospitality) - Sherlock Jr. - The Navigator - Seven Chances - (Go West (1925 film)) - (Battling Butler) - (College (1927 film)) - Steamboat Bill Jr. - The Cameraman - (Spite Marriage) - (The Gold Ghost) - (Allez Oop) - (Tars and Stripes) - (Grand Slam Opera) - (One Run Elmer) - (Blue Blazes) - (Mixed Magic) - (Love Nest on Wheels)
© thevoid99 2015
Written, directed, and starring Charles Chaplin, Limelight is the story of a washed-up comic who meets a young dancer as he hopes to give her the break that she needed to make it into the big time. The film is an exploration into a man who has been through everything in the world of entertainment as he hopes to help a young woman who feels hopeless in her chance to succeed. Also starring Claire Bloom, Nigel Bruce, Norman Lloyd, Wheeler Dryden, Sydney Earle Chaplin, and Buster Keaton. Limelight is a ravishing film from Charles Chaplin.
Being in the spotlight can give anyone the chance to succeed but there’s also failure as the comedian Calvero (Charles Chaplin) knows that too well as he is washed-up and unable to draw an audience. After meeting a suicidal ballerina in Thereza “Terry” Ambrose (Claire Bloom) whom he saved from a suicide attempt, he decides to help her succeed as she had a lot to live for. It’s a film that is about the old generation helping the new one in some respects but it’s also a love story where Terry falls for Calvero despite his age as he is baffled into why someone so young would fall for him. Calvero would serve as a beacon of confidence for Terry but Calvero himself comes into his own issues as he’s reluctant to return to the stage in fear of failing. At the same time, he’s not sure if he wants to be successful since he’s already done so much and just wants to perform without any kind of pressure.
Chaplin’s screenplay is filled with some very strong dialogue to play into this relationship where Calvero helps Terry to get her hopes up as well as some commentary on fickleness of fame. Notably as there’s scenes of Calvero reflecting on his days when he was a success but finds himself facing a reality when his act that includes him singing and doing things with fleas aren’t captivating audiences like they did back then. Calvero reluctantly accepts that reality as he resigns himself to getting drunk until he smells gas as he finds Terry passed out early in the film as he saves her from death. Terry is a young woman who has experienced a lot of disappointments and such that plays into her despair as she would be unable to walk due to her low self-esteem.
Once she does become a star with Calvero watching from behind as he would play a clown in one of her ballets. He prefers to stay away so she can have her moment in the limelight yet she wants to share with Calvero which he politely refuses. Especially when it involves the presence of a young composer Terry met some years ago when she was working in a store as that man has become successful. The character of Neville (Sydney Earle Chaplin) is a man, who like Terry, also suffered from low self-esteem but success as a composer has made him confident yet still pines for Terry. Terry is unsure about Neville due to her devotion for Calvero but realizes that she has to do things for herself since Calvero won’t be around for long despite the temptation of making a major comeback.
Chaplin’s direction is pretty simple in terms of its compositions yet he manages to create something that is very engaging in his approach to humor and drama. Notably in the way he presents the drama with some very entrancing close-ups and medium shots to convey the unique relationship between Calvero and Terry. Even as much of that relationship is set in Calvero’s apartment where it is filled with posters of Calvero when he was a star as the film is set in the 1910s. The use of flashbacks early in the film is crucial to Chaplin’s vision in not just how good Calvero was but also a brief glimpse into Terry’s life and the moment she first met Neville. The film’s second act begins six months after Calvero and Terry had met where they strive to succeed where Terry gets her break while Calvero is just happy to get a job.
The presentation of the ballets that Terry is in are truly exquisite with Chaplin employing some wide camera angles to present the beauty of her dancing (as it’s performed by dancing-double Melissa Hayden). The film’s climax not only involves Calvero getting one last chance at greatness but it’s also a moment where Chaplin brings in one of his great film rivals in Buster Keaton as Calvero’s partner for this extremely hilarious sequence in their stage performance. It’s a real highlight in the film where Chaplin not only brings in the elements of the past that has made him famous but also to showcase that he can still manage to create something that is still touching no matter how much the times have changed. Overall, Chaplin creates a truly delightful yet heart-wrenching film about two people working together to succeed in the entertainment business during changing times.
Cinematographer Karl Struss does amazing work with the film‘s black-and-white photography for its intricate use of shadows and shading in the scenes in the stage to convey the sense of a world that is changing that Calvero couldn‘t be a part of. Editor Joe Inge does excellent work with the editing in not just creating some stylish dissolves but also use some transitional fade-outs and rhythmic cuts to play with its humor. Art director Eugene Lourie does fantastic work with the look of the apartment as well as some of the stage setting for the ballets. Costume designer Riley Thorne does dazzling work with the film’s period costumes from the suits that Calvero wears to the dresses that Terry wears.
Makeup artist Ted Larsen does nice work with the makeup work in the look of Calvero when he‘s on stage as well as Terry‘s makeup in her ballet performances. Sound editor Harold E. McGhan does terrific work with some of the film‘s sound effects as well as capturing some of the natural sounds in some of the film‘s different locations. The film’s music by Charles Chaplin is exquisite with its rich and delightful orchestral score that ranges from being comical to being somber in order to convey the many different moods in the film.
The film’s cast is marvelous as it includes appearances from Chaplin’s young children including Geraldine Chaplin as the kids Calvero runs into early in the film. Other notable small roles include Wheeler Dryden as the doctor who checks on Terry, Norman Lloyd as Calvero’s agent and Nigel Bruce as the very jovial impresario Postant. Sydney Earle Chaplin is excellent as the composer Neville who has always pined for Terry as he becomes aware of her relationship with Calvero. In a small yet fabulous role, Buster Keaton is hilarious as Calvero’s partner where he gets some funny lines late in the film yet it is the musical duet he has with Chaplin that is just truly unforgettable in its humor that showcases a performance from two great comedy actors that will never be seen ever again.
Claire Bloom is just radiant as Terry as this very troubled young woman who is unsure if she is to succeed as she finally does gain success but wants to share with Calvero as she is determined to become the devoted love of his life no matter how old he is. Finally, there’s Charles Chaplin in a very touching performance as Calvero where Chaplin brings a great sense of humility and wisdom to a man who faces the truth about his career while dealing with changing times as it’s Chaplin showcasing his range as a dramatic actor while also being very funny as he brings element of the Tramp to the performance as it’s certainly one of his most moving performances.
Limelight is a rapturous yet heart-wrenching film from Charles Chaplin that features one of his finest performances along with an outstanding one from Claire Bloom. The film is truly one of his great works not just in terms of its humor but also in the drama that it conveys. The film also features a moment where Chaplin and Buster Keaton show what they can do together as the two rivals create something that is magical. In the end, Limelight is a spectacular film from Charles Chaplin.
Charles Chaplin Films: (Twenty Minutes of Love) - (Caught in the Rain) - (A Busy Day) - (Her Friend the Bandit) - (Mabel’s Married Life) - (Laughing Gas) - (The Face On the Bar Room Floor) - (Recreation) - (The Masquerader) - (His New Profession) - The Rounders - (The Property Man) - (The New Janitor) - (Those Love Pangs) - (Dough & Dynamite) - (Gentlemen of Nerve) - (His Musical Career) - (His Trysting Place) - (Getting Acquainted) - (His Prehistoric Past) - (His New Job) - (A Night Out) - (The Champion) - (In the Park) - (A Jitney Elopement) - (The Tramp) - (By the Sea (1915 film)) - (His Regeneration) - (Work (1915 film) - (A Woman) - (The Bank) - (Shanghaied) - (A Night in the Snow) - (Burlesque on Carmen) - (Police (1916 film)) - (Triple Trouble) - (The Floorwalker) - (The Fireman) - (The Vagabond) - (One A.M. (1916 film)) - (The Count) - (The Pawnshop) - (Behind the Screen) - (The Rink) - (Easy Street) - (The Cure (1917 film)) - (The Immigrant (1917 film)) - (The Adventurer) - A Dog’s Life - (The Bond) - Shoulder Arms - Sunnyside - A Day’s Pleasure - (The Professor) - The Kid - The Idle Class - Pay Day - The Pilgrim - A Woman of Paris - The Gold Rush - The Circus - City Lights - Modern Times - The Great Dictator - Monsieur Verdoux - A King in New York - (A Countess from Hong Kong)
© thevoid99 2014
Directed by Billy Wilder and written by Wilder, Charles Brackett, and D.M. Marshman, Jr., Sunset Boulevard is the story of a lowly screenwriter who tries to write a script for a fading silent star actress in the hope to revive her career. The film is an exploration into the world of Hollywood and how it treats those whose time have come and gone as it’s told in a film-noir style. Starring William Holden, Gloria Swanson, Erich von Stroheim, and Nancy Olson. Sunset Boulevard is a spectacular film from Billy Wilder.
The film is the story about a debt-ridden B-movie screenwriter who finds himself at the home of a fading silent star actress who is convinced that she will return as she hires the man to help her shape her script and become her lover while her loyal butler watches closely. It’s a film that explores the world of Hollywood and how fickle it can be as times have changed as there’s a man trying to make a break as a screenwriter though he has ideas that aren’t so great. There’s an aging actress who hadn’t been in the films for years yet is convinced that she is still a movie star that gets fan letters all the time. All of it is told by the screenwriter named Joe Gillis (William Holden) who is first seen lying dead on a swimming pool as he narrates the entire story trying to figure out what he got himself into.
The film’s screenplay has this unique narrative that is told by its protagonist who is found dead at the beginning of the film as it’s a narration that is sort of reflective but told in a noir-like language to give a sense of style where Gillis definitely has some regrets over the way he handled things and as well as the mess he got himself into. It starts off as someone who is full of ideas but not a lot of them that Hollywood wants as he owes money where he tries to hide from repossession men where he finds himself in a mysterious mansion that turns out to be the home of the once great silent film star Norma Desmond (Gloria Swanson). Desmond is convinced that she will make a grand return to the big screen as she has created a project that will put her back on top despite not having been in the films since the emergence of sound in films. Still, she is still convinced that she is a star as she also waits for a phone call from Cecil B. DeMille whom she had worked with.
Another person that is crucial to the story is Desmond’s loyal butler/driver Max (Erich von Stroheim) who is also Norma’s great protector as he shields her from the reality that she’s unaware of. Especially as knows a lot more than one wants to think as Gillis is suspicious about Max as he finds himself trapped in Desmond’s home yet has no choice but to be with her. Still, he finds it suffocating an encounter with a script-reader named Betty Schaefer (Nancy Olson) leads to a script collaboration between the two that makes Desmond very suspicious about Gillis’ frequent departure from the house. All of it would lead to some conflict over what is really going on around Desmond and how out of touch she is.
The direction of Billy Wilder is truly stylish from the way he opens the film that includes the shot of Gillis’ body lying face down in the swimming pool as he’s narrating the film. While some of the compositions are quite simple and to the point, there is that element of style that Wilder wants in terms of close-ups and slow zooms as well as some extravagant crane shots. Much of it is to display a world in Hollywood that is changing where a lot is happening where there are those that have no clue of the past though there are some who do recognize Desmond despite the fact that she hasn’t been around for years. There’s also some cameos that appear in the film to play up into a world that Desmond wants such as a bridge game with other silent film stars who don’t say anything yet there’s an element of meta-acting in their appearances.
There is also some satire that explores the way Hollywood is and such as Wilder showcases a place that Desmond doesn’t recognize yet is convinced that people know who she is. Even as the big scene where she arrives at Paramount studios showcases that sense of disconnect that she is unaware of where she meets Cecil B. DeMille who is surprised by her arrival as he is someone who doesn’t have the heart to disappoint her. Things do get darker in the third act when Desmond learns about Schaefer and Gillis where it all plays to something that is wild and melodramatic that would one of the most unforgettable endings in film. Overall, Wilder creates a very sensational yet dark film about the fickleness of Hollywood and a woman’s loss with reality.
Cinematographer John F. Seitz does brilliant work with the film‘s black-and-white photography from the bright look of its daytime exteriors to some of the stylish lights for the scenes at night including the scenes outside of the house to showcase a world that seems long and gone. Editors Doane Harrison and Arthur Schmidt do excellent work with the editing by going in a straightforward approach with the editing though infusing the film with some style in its transitional dissolves and montages. Art director Hans Dreier and John Meehan, along with set decorators Sam Comer and Ray Moyer, do fantastic work with the home of Norma Desmond with its old-school look and a room full of her photos to showcase the sense of disconnect in her life.
Costume designer Edith Head does wonderful work with the costumes from the suits that Max and Gillis wears to the lavish dresses that Desmond wears throughout the entirety of the film. Sound recorders John Cope and Harry Lindgren do superb work with the sound to play into the tense atmosphere of the Desmond home as well as the raucous nature of some of the party scenes and such in the film. The film’s music by Franz Waxman is amazing for its bombastic yet thrilling orchestral score to play out some of the suspense and melodrama that just adds a lot of power to the film.
The film’s cast is incredible as it features some appearances from Cecil B. DeMille as himself as well as silent film stars Buster Keaton, Anna Q. Nilsson, and H.B. Warner as bridge players, and famed gossip writer Hedda Hopper as herself in the film’s final scene. Fred Clark is terrific as Paramount producer Sheldrake while Jack Webb is excellent as Schaefer’s fiancée in assistant director Artie Green. Nancy Olson is wonderful as Betty Schaefer as script-reader who wants to write her own scripts where her strong opinions as her teaming up with Gillis where she finds herself falling for him. Erich von Stroheim is marvelous as Norma’s longtime assistant Max as a man who is her great protector as well as a man who knows more about her than anyone as there’s a lot more to him that makes von Stroheim’s performance far more entrancing.
William Holden is amazing as Joe Gillis as this lowly and unlucky screenwriter who arrives into the Desmond home by accident as he is someone that is just trying to catch a break only to become Desmond’s new companion for better or worse as he also drives the story to unveil all of the mistakes and such that he’s made. Finally, there’s Gloria Swanson in an astounding performance as Norma Desmond. Swanson brings a sense of terror and melodrama to the role as someone who believes she is bigger than life as well as someone who has lost touch with reality. It’s a truly tour-de-force performance that is really unlike anything or anyone as it’s definitely one that no one will forget.
Sunset Boulevard is a magnificent film from Billy Wilder that features phenomenal performances from Gloria Swanson, William Holden, and Erich von Stroheim. It’s a film that explores the dark side of Hollywood and how one so desperately craves to be in the spotlight again no matter how much things have changed. It’s also one of Wilder’s most entrancing films for its striking visuals and witty satire on Hollywood’s fickleness. In the end, Sunset Boulevard is a triumphant film from Billy Wilder.
Billy Wilder Films: (Mauvaise Graine) - (The Major and the Minor) - (Five Graves to Cairo) - Double Indemnity - The Lost Weekend - (The Emperor Waltz) - (A Foreign Affair) - Ace in the Hole - Stalag 17 - (Sabrina) - (The Seven Year Itch) - (The Spirit of St. Louis) - (Love in the Afternoon) - (Witness for the Prosecution) - Some Like It Hot - The Apartment - (One, Two, Three) - (Irma La Douce) - (Kiss Me, Stupid) - (The Fortune Cookie) - (The Private Lives of Sherlock Holmes) - (Avanti!) - (The Front Page) - (Fedora) - (Buddy Buddy)
© thevoid99 2013
