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Buster Keaton's career reached its creative apex with this rousing comic adventure. Not merely one of the finest silent films, this remains one of the great film comedies of all time. The Great Stone Face stars as Southern railroad engineer Johnny Gray, a man with only two loves: the sweet Annabelle Lee (Marion Mack) and his trustworthy engine, the eponymous General. When Fort Sumner is fired upon he's one of the first to enlist, but when the war office rejects him (he's too valuable as a trained engineer) his sweetie rejects him as a coward. Johnny has the opportunity to prove his bravery when Yankee spies steal his engine and inadvertently kidnap Annabelle, and Johnny pursues with all the resources at his disposal: handcar, bicycle, and finally railroad engine. Keaton's love/hate relationship with technology and machinery shines as he becomes one with his beloved locomotive and wrestles with a finicky cannon that threatens to blow his engine off the tracks; with tremendous dexterity, he nails the humor with inimitably deadpan takes. Spunky Marion Mack makes a perfect partner for Keaton, not merely a foil but a gifted comedienne in her own right. Other Keaton films contain more laughs and inspired comic stunts, but none combines romance, adventure, and comedy into a solid story as seamlessly as this silent masterpiece. --Sean Axmaker ... Read more

Reviews (46)

Johnnie get your gun!
"The General" is a film that is so well-paced and well-crafted, you don't even realize you've been watching a film that is an hour and a half in length. This is easily one of the best comedies ever made (silent or otherwise) and among my favorite films of all time. Buster Keaton plays Johnnie Gray, a train engineer in the south during the Civil War. Johnnie's two loves in his life are his train, The General, and his girl, Annabelle. Imagine the horror when, after a daring plot by Union army spies, Johnnie's train is hijacked and his girl is kidnapped in the process. It's Johnnie to the rescue as he gives chase by another train to save his beloved General, get the girl, and maybe even become a hero. With an ever-present blank expression on his mug, Keaton treats the viewer to feats of daring, physical comedy. The movie itself zooms from gag to gag as if riding a train from station to station. And what a delightful ride it is.

ONE OF THE MOST COMPLETE SILENT MOVIES OF ALL TIME.
"The General" is a silent movie, starred by the fantastic Buster Keaton, widely considered as one of the greatest, if not the best silent movie of all time.

The film is set during the U.S.A. Civil War. Johnnie Gray (Buster Keaton) is a Southern engineer of a train engine named "The General". When the war starts, Johnnie's love interest, Annabelle Lee (Marion Mack) invites him to enlist in the Confederate Army, but he is rejected by the war office because he is too valuable as an engineer. When Annabelle knows this, she thinks that Johnnie is a yellow and immediately stops talking to him. Months later, the Northern decides to steal "The General", taking Annabelle in the process.

The next segments are two of the most impressing sequences ever filmed, Johnnie chases his own train engine to rescue his beloved Annabelle, and after he reaches her, they now must escape in "The General". The acrobatic chases in the rails are without a doubt the heart of the movie, and proof of the athletic ability of Buster Keaton. "The General" is the testimony of the greatness of one of the most legendary movie heroes, the fantastic Buster Keaton.

Quest and Love
This movie is ranked in top twenty best films ever made. It is a tribute to Keaton that words matter so little in what must have been a technological marvel for its day. The incredible danger that Keaton and Marian Mack endured while skipping and lurching on top of very real trains and locomotives would not be duplicated by preening stars today. Part of the charm of a story of quest and love, is the danger endured by the hero and heroine against all odds. As in most films of this era, there is a naive quality to romance. The action however, especially on a big screen is fascinating. How did Keaton think up all the possibilities of locomotive spills and chills? This film is totally original and has influenced 100's of films that followed.

"This fellow Keaton seems to be the whole show!"
The first time I watched Buster Keaton's Civil War movie, THE GENERAL, I was a bit disappointed. I didn't hate the film, but it didn't exactly grab me as one of the "greatest films of all time" as the front of the DVD cover states. When gearing up to review this disc, I decided to pop the film back into the player to refresh my memory and to take a few notes. No notes were taken; I ended up glued to the screen, and didn't write down a single thing.

I'm not sure what was different that second time. Maybe I knew not to expect an out-and-out comedy. THE GENERAL isn't a series of constant knee-slappers; rather it's more of a comic action-adventure. And once I got myself into that frame of mind, I was able to enjoy the film for what it is: a great romance-comedy-action-adventure.

On top of the fun story and the zany sight gags, the film just looks great. The cinematography is superb. Just look at that scene of Buster Keaton obliviously chopping wood on the back of his train while passing by two separate groups of Civil War battalions. The soldiers are moving in one direction. The train is moving in the other. The camera slowly tracks along beside Buster's train, not quite matching the speed, allowing us to concentrate both on the foreground and on the march in the background. I can't imagine it was easy to get this shot, but Keaton's perfectionism was to the film's great benefit.

Speaking of the train (the title refers to one of two loves in the life of Keaton's character, his girlfriend, and the train he's an engineer on, "The General"), it's clear to see Buster Keaton's love for our locomotive friends. You'd never believe that the train chase sequences could possibly be as exciting as they are, but Keaton uses all of his skill as a director to ensure that they are. Put together, the two train chases make up a significant amount of screen time, but they're far and away the most entertaining part. Obstacles and traps are set. Ground is gained and then lost. Cars are diverted, but then reappear. I just can't get over how clever some of this stuff is. And I also can't get over how difficult it must have been to stage.

On the other hand, it is somewhat odd to see silent comic Buster Keaton clowning around while there's a massive Civil War battle reconstruction going on around him, complete with canon-fire, swords and pistol fights. Hundreds of extras are being mowed down while he messes about with a sword that will not stay attached to the handle. And it's downright surreal to see him grabbing a Confederate flag banner and racing towards the front lines waving it.

This disc also features two short features from Buster Keaton. In THE PLAYHOUSE, the action opens with a long dream sequence, where Keaton plays everyone in a vaudeville show, as well as the entire audience. I had thought that this sort of split screen was supposed to be revolutionary in Disney's THE PARENT TRAP (1961). But forty years before Hollywood expected us to be impressed by two Hayley Millses, this short feature gives us nine Buster Keatons on screen at once!

The other short feature is COPS, described as Keaton's finest short film. I wouldn't argue with that position (although I think I might put THE SCARECROW up there), as this is absolutely hilarious. Beginning with a few quick sight gags and misunderstandings, the film has Keaton eventually earning the wrath of every policeman in the city. The film continues on, getting increasingly outrageous as every attempt at escaping from one set of policemen ends up annoying a further group. It's very reminiscent of his feature length film, SEVEN CHANCES, only instead of enraged brides chasing Keaton through city streets, it's -- you guessed it -- cops. Packed with energy and wonderfully inventive, COPS could stand multiple viewings without boring an audience.

This disc might be the best place to begin appreciating Buster Keaton. He's certainly at the top of his game in all three movies. I would only suggest to newcomers not to expect THE GENERAL to be a laugh-a-minute slapstick fest. Certainly, it's an amusing film, but there's a lot more here to appreciate than just some simple physical comedy jokes. The attention to detail is surprising and welcome. Even today, it is still rare to see a "comedy" done in such a large cinematic scale, with such epic production values. Thanks to Keaton's care and attention, he created one of the best-looking films ever made in any genre.

One of the all time classic silent film comedies
If anyone could have made a comedy about the American Civil War and pulled it off, it was BUSTER KEATON. This is one of the all time classic silent comedies. Buster plays a steadfast trainman whose loyalty is with his girl and the South, but fate manages to throw their plans assunder. Rejected from the service because he was too valuable to the Confederacy as an engineer. Branded a coward, Buster manages to become the hero in a roundabout way. Look for classic routines like Keaton frantically trying to find his shoes in a hopelessly tangled pile of footwear, trying to load a cannon with limited success and finally, being promoted to an officer and having brigades of soldiers salute him, all the while he trying to kiss his true love. Granted, Civil War purists will fault some of the technical points, such as uniforms and weapons, but for once, OVERLOOK IT and enjoy the film! Even if it was 100% authentic, it is still a treasure worth seeing. ... Read more

Reviews (27)

No bad scenes - good family video
"In the Good Old Summertime" featuring Van Johnson and Judy Garland is a good video for the entire family viewing. There are no immoral scenes and no improper language. For families that have members that love musicals and members that hate musicals, this story will satisfy everyone. There is some singing in it, but not enough to drive you crazy. This is not a musical where everyone in the cast breaks into spontaneous singing--any music performed is germaine to the story.

Contrary to its title, "In the Good Old Summertime" can be considered a Christmas film and I recommend it for holiday viewing.

For those who like modern story lines, some people say it is similar (in a vague was) like "You've Got Mail."

Buy, view, and enjoy a delightful film.

P.S. Buster Keaton (who played the Scarecrow in "Wizard of Oz")does a magnificent job in this movie. 5 starts for Buster, too.

This is a cute film and you really must pay attention to the secondary characters as well. Especially Buster Keaton.

IMPRESSIVE LOOKING TRANSFER OF AN AVERAGE GARLAND FILM!
"In The Good Old Summertime" is a musical remake of "The Shop Around The Corner" (also available from Warner and the preferred version of this movie). In place of the obviously poignant and tender chemistry that James Stewart and Margaret Sullivan brought to the original we are given shrill ineptitude, a la the usually brilliant Judy Garland and mean spirited inclinations via the embittered Van Johnson. Really, I can't see how anyone would believe Garland and Johnson could be in love, much less have a child, by the final fade out. (Film trivia: the child in the last shot of this film is Liza Minnelli.) The remake, while short on the sprite gaiety of the original, nevertheless has its moments. Garland - although wrong for the part, is nevertheless in good voice and her songs sparkle with a vintage and professionalism that only a great artist like she could make of them in an otherwise uninspired production. In the supporting cast we have one of the cinema's great joys to watch - S.Z. Sakall, as the portly, easily flustered Mr. Oberkugen - proprietor of the music shop where both Johnson and Garland work and spar. Buster Keaton is wasted in his role.
THE TRANSFER: Warner gives us a very clean looking DVD. Colors are somewhat dated and in spots faded, but overall the Technicolor is rich and vibrant. Age related artifacts are present throughout but do not distract. Black levels are solid. Contrast levels tend to be just a bit too low for a picture that doesn't quite deliver as much visual punch as it should. There are no digital anomalies. The audio is mono but nicely balanced.
BOTTOM LINE: This is another film that die hard Garland fans will snatch up quickly. But one wonders why Warner chose "In The Good Old Summertime" over say, "Summer Stock" or any of the Mickey Rooney/Garland vehicles.

Captivating Christmas Story With Judy Garland In Fine Form
Despite this charming film's misleading title the majority of the story takes place in winter in the lead up to the Christmas season. It does however feature one of Judy Garland's best later performances made in an all to rare trauma free moment in the late 1940's for this legendary actress/singer when her health problems were affecting her ability to perform before the camera. Amazingly none of that is evident in "In the Good Old Summertime", which finds her delivering a wonderfully controlled and at times wistful performance as a young employee of a music store in turn of the century Chicago who is having a romantic letter correspondance with a penpal who addresses himself simply as "dear friend". Given its setting of a music shop "In the Good Old Summertime", also offers Judy Garland a number of opportunities to present some fine musical interludes in her unique style.

It was a stroke of genius by MGM to decide to remake as a musical it's earlier 1940 classic "The Shop Around the Corner" which starred James Stewart and another highly strung female performer in Margaret Sullavan. The results here are almost as effective as in the earlier film and Garland and Van Johnson make a delightful screen team. Based on the play "The Shop Around the Corner ", by Miklos Laszlo, the action this time has been moved from present day Budapest to turn of the century Chicago. Indeed this beautiful film bares a strong resemblance to Garland's earlier classic "Meet Me in St. Louis",and here the atmosphere is just as rich where the action centres around Oberkugen's Music Store run by the memorable Otto Oberkugan (S.Z.Sakall), and his colourful group of employees in the store. Chief among them is Andrew Larkin (Van Johnson) who is a promising store clerk. Andrew however has a very prickly relationship with new employee Veronica Fisher (Garland)and both seem to always find something to disagree about. However what both dont realise is that the romances they are respectively enjoying via the mail out of work hours and which have progressed from "intellectual topics" to real love, are actually with each other! As the pen pal letter exchange deepens into love it is agreed that the two will meet. Andrew however sees Veronica already waiting in the restaurant and in his disappointment decides not to go in. Thinking about it longer and realising Veronica is his pen pal Andrew decides to give her a hard time about it and in a funny situation enters the restaurant and engages her in conversation much to Veronica's consternation as she believes her "date", will be due to turn up at any minute. Back at the store however things slowly begin to thaw between the two and when Andrew gets into deep trouble with Mr. Oberkugan for lending his prize violin to friend Louise (Marcia Van Dyke), for an audition he finds himself fired. The staff rally around him and its up to Otto's long suffering secretary Nellie (Spring Byington)and Veronica to make him see the error of his ways. Otto relents for his behaviour and Andrew is made the new manager however Veronica decides she must be the one to leave and its only during a romantic interlude alone in the darkened shop on Christmas Eve that Andrew reveals his real love for her. Veronica also confesses her deep love for her former antagonist and the scene cuts away to the couple in a warm summer setting happily married and with a beautiful young two year old daughter (Liza Minneli).

"In The Good Old Summertime", boasts many memorable musical numbers including the title song, "I Don't Care", "Put Your Arms Around Me Honey", the comical "Play The Barbershop Chord", and my personal favourite "Merry Christmas". In all of these numbers apart from her beautiful singing style Judy Garland proves what an exceptional talent she was in comedy, pantomine and more energic pieces such as the barbershop number. Here is a talented actress in the full bloom of her capabilities who was unfortunately just about to exit the musical movie stage for quite some time. The supporting cast is exceptional with such fine comic talents as S.Z. Sakall and Spring Byington providing the top level support that they delivered in film after film in this period. Some rarities also pop up in "In The Good Old Summertime", as we see veteran Buster Keaton play Otto's brow beaten nephew to fine effect in his last MGM appearance and in the final scene reality and movie fantasy cross as Judy Garland's real life daughter Liza Minnelli plays her and Johnson's movie child in the last scene. Silent star Anna Q. Nilsson also has a small part as a woman buying one of the infuriating harps that reoccur in the story. MGM talent is abundantly on show in all departments here. The director Robert Z. Leonard who helmed the classic "Maytime", for MGM, was only brought in after Garland nixed plans by the studio to give the assignment to her husband Vincente Minnelli as the pair were having difficulties at the time. The choreography is top rate and was handled by Robert Alton who was responsible for the innovative dance numbers in Garland's previous film "Easter Parade". Cedric Gibbons' fine work in set design also deserves mention for giving the film its beautiful appearance and period flavour.

After this effort Judy Garland sadly went into a steep decline health wise and after completing only one more film "Summer Stock", and being released from an aborted attempt to film "Royal Wedding ", with Fred Astaire her MGM contract was terminated. None of this sadness is evident in "In The Good Old Summertime", thankfully and what we have here is a movie with gorgeous technicolour, many fine musical numbers delivered by Garland and a funny, and touching story set against a beautiful "MGM", Christmas. Enjoy Judy Garland at the top of her talents in MGM's "In The Good Old Summertime".

The (Music) Shop Around The Corner
I've yet to see "The Shop Around The Corner" so I can't compare "In The Good Old Summertime" to it, but I will say that "You've Got Mail" pales in comparison to "Summertime". All of the simple charm of "Summertime" is absent from "Mail". That aside, this is a good transfer of a film I've loved for 20 years. I still wish they had released it with a more fitting title, as it takes place mostly in the fall and winter, but it is a charming film filled with terrific acting and witty dialogue. It's generally thought of as a musical, as it stars Judy Garland and she does perform several wonderful songs, but the musical numbers are short and many are understated. I think the movie more correctly falls under the category of "comedy". As with a lot of 1940s era comedies, there are some kind of hokey things about this movie, such as the way the orchestra has to punctuate so many of the comic bits. But that's the way things were then and I certainly prefer it to a scene from a more recent film ("You've Got Mail" comes to mind") that shows a character dancing while a Motown song plays. (A pointless aside regarding music in "You've Got Mail": I liked the way Nilsson's "Remember" was used in the scene where Meg Ryan is decorating the Christmas tree. There. Something I liked about "You've Got Mail".)
My only complaint about this DVD seems to be a problem with a lot of DVD's these days. The music is much, much louder than the dialogue, and the dialogue isn't even cosistent in volume all the way through. So you have to keep adjusting the volume on your TV over and over. That's very annoying. I don't know if they can fix that on such an old film, but they should look into it. ("They" being the people who remaster the sound of these films for the digital release.)
I enjoyed the extras. It's nice to see the theatre previews for all three filmed versions of this story. It shows you how much more clever romantic comedies were in the 1940s compared to more recent years. I liked the Chicago travelogues as well. Great nostalgia! I will also state in agreement with other reviewers here that "Last Night When We Were Young" should have been included too.

Loses a star due to extras
The most disappointing DVD in the Signature Collection.
The included Chicago travelogues while curiosities tangentially worth including aren't worth trading off for in lieu of the missing deleted scene.
Why didn't WB include Garland's version of "Last Night When We Were Young," which was filmed but not used for this movie, on the DVD?
We know they have it .
We've seen it.
If they are saving it for the That's Entertainment Trilogy, I would have bought it anyway.
This ommision is not inadvertent and only created ill will. ... Read more

Reviews (6)

Buster Keaton's road movie
The Railrodder and Buster Keaton Rides Again (1965) are enjoyable remnants of the Keaton revival that occurred in the late '50s and early '60s, just before Keaton's death in 1966. The National Film Board of Canada paid tribute to Keaton by having him do a short subject in his old silent style.

The Railrodder depicts an older version of Buster's famous persona, porkpie hat and all, reading a newspaper article about increased Canadian travel and deciding he wants to join the crowd. He does this by accidentally starting up an electric railroad car that takes him across the country whether he wants to go or not. Buster, as always, resigns himself to greater forces and decides to enjoy the scenery. This short is amusing enough, but by Keaton's standards, the gags aren't very elaborate (probably owing to having to taking it easy on the advanced-aged Keaton). It's best seen as a novelty in which Keaton is allowed to perform an entire sound short in his old silent style.

Of far greater interest is Buster Keaton Rides Again, a black-and-white documentary about the making of The Railrodder. The documentary shows Keaton the creative filmmaker who, even in his late seventies, is willing to tussle with his director in order to milk every possible laugh out of a gag. Of special note is a scene of Keaton arguing with Railrodder director John Spotton about a shot of Keaton and his car rolling over an extremely tall bridge which, if Keaton wasn't careful, would cause him to plunge to his death. Keaton's arguing with his wife Eleanor and with Spotton about this dangerous gag, which occupies but a few seconds of screen time, shows just how seriously Keaton took his filmmaking, even when his once-agile body was rapidly failing.

The Railrodder and Buster Keaton Rides Again are worthy additions to anyone's Keaton library.

The Railrodder & Buster Keaton Rides Again
The Railrodder & Buster Keaton Rides Again is not 5 stars because it is the equal of The General or Sherlock Jr.. It is 5 stars because there is nothing else like it. THE RAILRODDER is a short. It was made in 1964 in the style of one of Buster's great 1920-23 silent shorts. Buster makes a trip through Canada. BUSTER KEATON RIDES AGAIN is a documentary on the making of The Railrodder. It also includes a bio on Buster. Buster Keaton Rides Again at times seems like a home movie and is very insightful. At one point Buster becomes upset when he dosn't get to do a gag he wants (it eventually ends up his way). I could imagine the situation as taking place in the 1930's as a battle with Lawrence Weingarten and the insipid MGM team. Only then it was on a much grander scale. The Railrodder & Buster Keaton Rides Again is a wonderful tape.

Comedy and Railroading in one flick
Here is the person of Buster Keaon. Nothing less than a genius of comedy. This combines a very funny short movie and the making of it as well. Keaton suggests, often demands how a scene will be done and we see just why he brought tears of laughter to Americans for decades.

For a rail buff, it's very enjoyable. They are using real equipment on real right-of-ways of Canadian National. From the east coast to the west coast with many picturesque and many dismal backgrounds, but each the perfect backdrop to the comedy unfolding.

Mr. Keaton died soon after this film was made, but his gift to us will be here anytime that little kid in us stands by a railroad track or watches this video and dreams.

Gene Holmerud

Required Viewing For Serious Keaton Fans
Film #1 of this video is "The Railrodder" (1965) by the National Film Board of Canada. "The Railrodder" is much like what Buster would have made before the year 1923: A 20-minute silent short with musical score and a string of impossible gags. Buster's character opens the film in London reading a newspaper ad which says "See Canada Now". He literally does by jumping off a London bridge into the Thames and swimming the Atlantic, ending up on the east shore of Canada. He steals a railroad handcar and drives it through Canada, ending the film on the west coast. "The Railrodder" is more purposeful as a travelogue for Canadian tourism than as a Keaton comedy short. Its comedic style would be more at home in the 1920's than in 1965.

Film #2 is one of the most interesting films of Buster's post-silent career. "Buster Keaton Rides Again" is a down-to-earth black and white documentary about the making of "The Railrodder". The camera picks up on the fact that you know Buster is having a good time making this film and the director, Gerald Potterton, knows enough that Buster is one of the greatest directors the cinema's ever had to let him take over the reins and supervise some of the scenes.

One scene shows Buster annoyed and tense, and makes the viewer feel disturbed about a troubled filmmaking situation, then he throws us an about-face and mutters an unrelated, dry one-liner about a never-ending train passing by that has an excessive number of cars. But the troubled situation continues as Buster is shown being stubborn and ornery about one of his gags being replaced by another because it was thought to be too dangerous ("that is not dangerous, that's child's-play, for the love of Mike!").

Other scenes show Buster playing a serious game of bridge....having fun by yelling at a baseball game on TV (that has horrible "snowstorm" reception) because one player made a flunky move....his wife Eleanor, a no-nonsense, good-common-sense kinda gal, explaining how she prevents him from getting physically ill with the medication she carries...and looking uncomfortable but being polite at a Manitoba social event.

Interspersed is narration that describes the events of his life. Sometimes it's irritating. Made me wince. Instead of just giving us the facts, it throws in a fake, dramatic monologue that was a popular style in 60's documentaries. However, it includes an excellent series of photos of Buster's childhood that make the viewer realize that Buster was expected to act and dress like a full-fledged adult on and off the stage starting at age 4.

A lot of cigarette smoking with related coughing fits are shown. The consumption of a lifetime of inhaling these things caused his death at 70, which was 1 1/2 years after this documentary was made.

The Best of The Silent Stars..
Buster Keaton, The last of the few silent movie stars that went all out to fame and fortune, and made it to the bif screen, with sound that is... One of the classics. this movie will sure please generations to come. ... Read more

Reviews (3)

My Review!!
Of all the Buster Keaton videos I've seen so far I think this was the best!!
It was just too funny. There was hardy a moment I wasen't laughing. One of my favorite parts was where Buster and the girl he's with are trying to find a safe place to sleep.
It's the kind of movie you have to see for you self: words can't discribe it exeped for, great and funny. and even those aren't enough. It was that good.

The Navigator/ The Boat/ The Love Nest
THE NAVAGATOR is one of Buster's great ones. A classic. The majority of the movie is on the boat "The Navigator". Many very funny moments and great stunts. Buster plays the spoiled rich guy who ends up as the hero saving the girl. The scene where Buster and the girl run around attempting to find each other is a classic. Ditto for Buster playing cards with a soaked deck. Many more great moments.

THE BOAT is one of Buster's best shorts. Buster, his wife and two small sons launch a boat. There are many very funny moments and great stunt work.

THE LOVE NEST is also outstanding. Most of the movie involves Buster and Big Joe Roberts on Joe's boat during Buster's dream. This was Buster's last silent short.

Solid comedy shows Keaton's mastery of big props
For many years The Navigator had a reputation as one of Keaton's greatest comedies-- partly because during the 30s and 40s it was the only one available, from the Museum of Modern Art. Today it ranks a notch lower-- like a lot of his middle period films, it doesn't have the distinctive strangeness of, say, Sherlock Jr. All the same, the story of a helpless rich boy and girl trapped alone on a drifting ocean liner shows Keaton's mastery of oversized props and single comic situations. Tape includes two other nautically themed shorts, The Love Nest and the superb The Boat, which features the famous image of a fatalistic Buster going under with his boat, only his porkpie hat left on the water's surface. ... Read more

Reviews (21)

Brilliant movies, mediocre DVD
I don't think filmmaking has reached the peak of genius set by "Sherlock Jr." since. The sheer volume of imagination on display dazzles even the most jaded modern viewer. I showed the climactic chase scene from this film to some high school students and they were flabbergasted and awed by the stunts, the set ups, the effects (including some seemless in camera special F/X that go undetected by most viewers!). "Our Hospitality" is also wonderful, though the climactic waterfall is a set (someone else on this page claimed it to be a real one-- it isn't) the risk was certainly real. And the dress on the horse gag gets me every time. The picture quality on these films is variable, with SJ looking better. I wish someone would invest $$$ to make all of Keaton's work as pristine as modern technology will allow. However, I must lament the musical score on SJ. the rest of the Keaton Kino releases have very tasteful, very supportive scores, but SJ's is so out of touch with the rhythms, feelings, and pulses of the film that it kills many gags and deadens the entire effect. OH's score is fine, however. It's not that I am such a purist I can't abide anything that deviates from the standard organ/piano meanderings, but the score has to support the film, has to punch the gags, not shift the punchlines. The atonal scratchings during the billiards scene belong in a Chaney horror film, not in one of the funniest, most awe inspiring and sublime stretches in film history.

Sherlock Jr.: A genuine legend
Keaton's "Sherlock Jr." One of the genuine legends of film history. While it's not as tragic as Erich von Stroheim's "Greed," "Sherlock Jr." is an experience that simply must be seen to be believed. Buster Keaton's mastery of physical comedy reached its zenith with this exercise in surrealism that is pure joy from beginning to end. It's only forty minutes long and there's not much of a plot to it -- Keaton plays a projectionist at a movie theater who wants to be a detective, but stumbles at his first attempt to solve a crime. He falls asleep in the movie theater, and his dream-self walks into the movie and takes part in an comedy adventure consisting of stuntwork so incredible, it made my jaw drop when I saw it for the first time. Most of the stunts here are filmed live, and Keaton uses masterful editing to bring them all together. One scene here, where he falls from a water tower onto a railroad track, actually broke his neck in real life -- but he didn't even realize it until a physical examination several years later!

Our Sherlock
OUR HOSPITALITY is an amusing little film. Buster Keaton is a New York gentleman returning to his family's ancestral seat in order to collect an inheritance. However, he falls afoul of an old rivalry; his new neighbors have vowed to kill all remaining McKays (they themselves are, of course, the Canfields), and Buster appearing in the town has given them opportunity of ridding the world of the last member of the family. Oblivious as ever to the danger he is in, Keaton ends up falling for the daughter of the house. He has a temporary reprieve during his courtship -- the Canfields won't kill a man while he's enjoying their Southern hospitality. In other words, while he stands in their house, he's safe; if he puts a foot out of the front door, he's a dead man. Catching on to the situation, Keaton goes to extraordinary lengths to avoid exiting their abode.

Any summary of OUR HOSPITALITY makes it sound like a one-joke movie, but that would be a misleading impression, as there are lots of quick little sight-gags and set-pieces that make up this film. Keaton's journey from his New York home to the Deep South of Trenton, New Jersey is a surreal voyage on a ramshackle train that travels as well on its tracks as it does on a dirt road. He faces a variety of physical obstacles, the most famous being his rescue of a woman in midair as she falls over the lip of a waterfall. Okay, so he's actually rescuing a prop rather than a real person, but the stunt is still quite impressive: Keaton with a rope around his waist swings from above the waterfall straight down into the downpour, plucks the doll from air, swings back towards a rocky outcrop and delivers it to safety.

Keaton testing the limits of the Canfield hospitality (figuratively and literally) is quite a treat. Joe Roberts, a regular in these Keaton films, makes a welcome addition to the cast playing a sort of demented Colonel Sanders. The chase scenes (a staple of any good Buster Keaton film) are fast and well executed.

Also included on this disc is SHERLOCK, JR. Sherlock Jr. is the name that Buster Keaton's character goes by in his dreams. By day, he's a rather put-upon projectionist at a cinema. But he yearns for a more exciting life. He reads books on becoming a private detective and even has a magnifying glass and a false mustache for his undercover work. However, he's quickly accused of a crime that he didn't committed, and, having lost the affections of his beloved, is soon stuck back at work with nothing to do but change reels and sleep. While napping, he dreams, and places himself inside the story of the rather dull-looking melodrama that is playing in front of him.

The first thought that strikes me about the dream sequences of SHERLOCK, JR. is that they have a very 60s feel to it, which just goes to show you how ahead of his time Keaton was. At first Buster just walks through the screen to interact with the action. But the scenes change quickly, and he remains in the center of the picture. It's a neat metaphor for the way Buster Keaton character always seemed to stay calm and collected regardless of the madness of the world around him. But you could imagine these camera tricks being done in a student film, although they'd probably be much less inspired.

The film then moves on from its surreal scene/camera changing jump cuts, and Keaton begins to interact with the movie and its characters directly. This is where the movie really feels like a 60s production. It's a James Bond spoof, nearly forty years before the premier of DR. NO! It's uncanny. We have exploding billiard balls, booby-trapped chairs, a damsel in distress, motorcycle and car chases, and a suave, sophisticated hero. I thought myself extremely clever for noticing this... until the orchestra suddenly burst into a snatch of the James Bond theme at the moment when Buster Keaton's car turns itself into a boat. These Kino Video releases usually claim to have used the original score performed by a modern orchestra. Obviously, the score here isn't from the original, but it certainly made me laugh at that point.

You can see the filmmakers (mostly Keaton, I assume) really letting loose and experimenting. One of the movie's most notable features is the film within a film, where Keaton takes great pains to point out that his character is dreaming the action. It's interesting to view in comparison to the way movies have since developed; a modern audience would have had no trouble picking up on the clues, but Keaton couldn't rely on his viewers having enough familiarity with the medium. The clues that audiences today notice without even thinking about were still being developed at this time.

I wasn't overly wild about the two films on this disc, although they are still a hell of a lot of fun. Upon reflection, I think I prefer Buster Keaton's faster paced short films, which isn't to say that there aren't some great gags here. SHERLOCK JR. seems to be the better regarded of the two, and I'll agree with conventional wisdom on that one.

Two great Keaton comedies
"Our Hospitality" and "Sherlock Jr." are two of Buster Keaton's finest silent films.

In "Our Hospitality", Buster plays Willie McKay, a naive New York City resident (if you can call New York a city in 1830) who returns to his native south to collect an estate from his mother who has just recently died. Unfortunately, McKay's family has been involved in a backwoods feud with the Canfield family who are determined to kill off the last surviving McKay.

Further complicating matters, Willie finds himself falling in love with the elder Canfield's daughter who invites him to dinner. The Canfields will not shoot McKay in their house as this violates their code of honor (there is apparently nothing dishonorable about shooting McKay outside). This leads to a series of hilarious comic situations as Willie must find ways to prolong his visit. Later, when he runs out of excuses, he must find a way to sneak out without being recognized. Wait till you see what he uses for a disguise!

The film leads up to a hilarious and exciting chase sequence ending on a river. Buster Keaton was quite the acrobat. It's amusing how throughout the film he pokes fun at the south's twisted sense of hospitality. There's also a surprisingly touching finale.

"Sherlock Jr." is another great, albeit short film. Buster plays a hapless movie projectionist and amateur detective who is wrongly accused of stealing his girlfriend's father's watch. Ostrasized by his girlfriend, Buster falls asleep in the projection room and in his dream, walks into the movie and interacts with the characters. In his dream, he imagines himself as the great detective Sherlock Jr. and attempts to find the culprit of a stolen watch.

"Sherlock Jr." is an interesting film as it deals with Keaton's fascination with the film medium. The special effects for the scene where Buster walks into the screen were incredible for their time. This scene has been copied a lot in subsequent films. Unfortunately, the film is marred somewhat by the inane music score which someone decided to tack on. Nevertheless, it's well worth viewing.

Buster Keaton was a genius. His best films matched, if not surpassed those of his rival Charlie Chaplin. They were cinematically superior and had better stuntwork (nothing wrong with Chaplin mind you). A must for any lover of silent comedies.

The art of Buster Keaton.
Personality diviners: which Beatle is your favorite? did you think *The Big Lebowski* was funny? Coke or Pepsi? Keaton or Chaplin? If you answered John, Yes, Coke, and Keaton, you're my type of person. But to focus on the topic: Keaton's films have unarguably aged better than Chaplin's. Whereas the latter's films have a good-for-you, culturally-enriching aura, Buster's movies happen to still be unpretentiously entertaining. Kino, with this double-feature set, offers a great showcase of Keaton's many talents:

*Our Hospitality* (Four Stars): Somewhat primitive but still accomplished comedy about a city boy (Keaton) who embarks on a journey Down South to claim his ancestral inheritance. The joy of the thing is in the journey, which involves an amazing, diminutive, jerry-rigged "train", replete with roof-chairs on which passengers bob and sway like reeds in a high breeze. Once arrived, Keaton discovers that he has also inherited participation of a blood feud, of the Hatfied-McCoy variety, with another family. (Of course, the girl he falls for on the train ride is the daughter of the enemy family.) Much humor (and irony) is derived from Keaton's character taking advantage of the fact that the enemy clan must not, out of Southern Honor, shoot him down like a dog as long as he's a guest in their home. Other points of interest: costumes and architectural details are surprisingly accurate (the movie takes place in the 1830's); and Keaton's stunts in this movie are among his most death-defying.

*Sherlock Jr.* (Five Stars): The first movie turns out to be a starter for the main (yet smaller, at 45 min.) course, the masterpiece *Sherlock Jr.*. Falsely accused of stealing a watch, wanna-be detective Keaton returns to his dreary projectionist job at the local movie-house and has a dream that begins with him leaping into the movie screen and becoming master detective "Sherlock Jr.", a hero of his own film. I could put my egghead's cap on and blather about the movie's postmodern immersion in its own medium; how it influenced filmmakers like Woody Allen; how it's arguably the greatest achievement in silent comedy. Or: I can tell you that the scenes involving an explosive billiards-ball and a daffy motor chase through the city are laugh-out-loud hilarious. Many of the special effects (this is 1924, mind you) still defy easy detection . . . which is more than can be said for 2002's *Spider-Man*, to use just one current example.

[The DVD is adequate. *Sherlock Jr.*, actually, has somewhat better-than-adequate picture quality. Good job, guys. And I'm rather more glad than not that there are no "special features": the last thing I need is some film scholar stripping away, piece by piece, Keaton's layers of artifice.] ... Read more

Reviews (12)

Keaton at the Top of His Game
Despite the loss of his creative independence, Buster Keaton somehow was able to make a comic masterpiece within the studio-system constrictions of MGM. "The Cameraman" (1928) shows Keaton at the height of his cinematic powers, with some terrific set pieces (such as his solitary baseball game at the newly built Yankee Stadium) and moments of unexpected pathos. The Great Stone Face's next-to-last silent comedy remains among his all-time best. However, do not judge this superb film by the faded, unwatchable print provided by MGM for this VHS edition -- it never should have been issued. Instead, wait for the inevitable release of a far-superior print that has aired on Turner Classic Movies.

Buster-comedy how it should be.
Though I have no idea how good the quality of this copy is, The Cameraman should not be missed. Buster Keaton, one of the greatest silent film stars is one of the most honest performers I have ever seen. I really wish this would be released on DVD! If you're looking for just a fun, honest and good film, see The Cameraman-you'll love it!

A Sweet & Beautiful Comedy Classic
This is my favorite Buster Keaton movie. I have watched it so many times I've lost count. The best thing about this movie is the lovely relationship Buster's character has with his leading lady, played by Marceline Day, who died not too long ago. She is his best leading lady, so sensitive and touching. So if you are looking for an hysterically funny comedy with lots of inventive slapstick, with a refreshing and tender romance thrown in for good measure, you will definitely love The Cameraman. I think it's one of the best 100 films ever made.

"You kill-a da monk!!!"
Oddly this film is best suited for either the Keaton Kompletist, or else the non-fan... In Keaton's movies it's the universe that's crazy, not him; he's just impassively, trustingly along for the ride. In The Cameraman, though, all the chaos is caused by Keaton's bumbling. He trips, he walks into things, he falls down. He's basically a simpleton. This is more Stan Laurel than Buster Keaton.

Keaton also avoided pathos whenever he could and preferred his women to be just another nutty part of his environment, yet here he has an unrequited love for an idealized Virgin Mary type who falls in love with him at the last minute when she realizes what a pitiful figure he is. This part is pure Chaplin. Since many Keaton fans are not Chaplin fans because of precisely this sort of sentimentality, you might want to bear it in mind.

There's also some business with an implausibly perspicacious monkey, Keaton's bathing suit falling off, etc. This is just generic gag writing.

And if you want to know just how far off-key the tone deaf studio brass was, they actually wanted the film to end with Keaton giving a big SMILE! It's not in the film, thank heaven, but it makes it abundantly clear that they just didn't get it. (The next year in Spite Marriage they turned him into an out and out idiot.)

It's still an adequate picture, I suppose, but the real Keaton stuff is his self-produced films of the twenties: Our Hospitality, The Navigator, Sherlock Jr, The General, etc. You can get them all on the superb Kino DVDs, and I think you'll be much happier.

Cocktail Party Trivia Section: The changing room scene in this film was the basis for the stateroom scene in Night At The Opera. By the time the Marx Brothers came to MGM to make that film Keaton - who was by now a major bottle man - had been reduced to studio gag writer working on other people's pictures, and that scene is one of his contributions.

Another example...
...of the studios' insanity who forgot to put this one on the Keaton-DVDs' release list, and who prefer to flood the market with TV series' junk which should never have been produced in the first place, unlike Spike Jones (can we hope getting some day the shows on DVD with a better image quality than the tapes) whose shows did not require the use of Prozac (and even, in my advice, were a better alternative) for being watched. ... Read more

Reviews (6)

Tecnicolor Tessie!
A must see for any Lucille Ball fan. You can't seem to take your eyes off her. She is radiant in this film. The color is bright and vivid. The drunken scene with Van Johnson is great and quite possibly one of her best comedic performances. I strongly suggest this film.

really good!
I recommend this film. It has a great cast Esther Williams, Van Johnson and the very funny and talented Lucille Ball. It's also a well worth seeing film of hers, and has one of the better story lines. It's romantic funny and really good fun to watch.

TECHNICOLOR MUSICOMEDY
A fairly entertaining musical with a fun-filled cast. Esther Williams plays the beautiful rich playgirl who brings a massive lawsuit down on the head of newspaperman Keenan Wynn, who had printed an unflattering article about her lavish, irresponsible lifestyle. In order to win the case, Wynn hires suave Johnson (a former employee with the same newspaper) to win over Williams so she will drop the charges. Naturally, everything goes haywire... While this film can't hold a candle to original 1936 film LIBELED LADY, of which this is a re-make, it gave Lucille Ball one of her best comedy showcases in the movies in her role as Gladys Benton. The colour photography is quite good and the songs are amusing if a bit corny.

Lucy sparkles!
Lucy was absolutely spectacular in this movie! Even though her character was a stupid, gullible one, she played it wonderfully. I feel bad saying that, but it was her character, not her, and it shows how versatile she was and how many characters she could portray. Lucille Ball was born to be in Technicolor! She looks radiant with her flaming red hair, intense blue eyes, and her four corner, blood red mouth. She looks so beautiful in this movie. She and Van Johnson have such great chemistry together. This movie gave us a peek at her comic ability and what was in store for us in the years to come, but it also showed that Lucy was not limited to comedy. It's a wonder why MGM didn't see her talent and cast her in A movies. This is a great movie and Lucy is even better!

Very good!
Lucy is SO good in this movie! I can't say much for the rest of it but she is AWESOME! ... Read more

Reviews (9)

The Bus Man Cometh
This is one of the Bus Man's lesser known, but certainly not lesser works.

Three Ages is a tad jarring at first, because the three tales of romance mix ups criscross between the Flinstonic era (haha), Ancient Rome, and the Roaring 20s. Even if you don't usually like romatic comedy, the Bus man's personality and brilliant comic timing will make you smile and laugh. I'm not really sure if our man is actually being dragged by an elephant in the caveman scenes, but the lion he deals with in the Roman segment is obviously fake. The pre-Lost world animated segments of the Bus man riding the dinosaur is impressing and amusing even for modern audiences.

In either case, while this isn't exactly a knee-slapper, it's certainly an amusing and pleasant way to spend an hour and a half, as well as the shorts.

Three Films
THREE AGES is one movie told in three parts. The first section takes place during prehistoric times, showing us Caveman Buster's (riding around on his special-effect dinosaur) attempts to woo cavewomen. The second part is set during the height of the Roman Empire, while the third is contemporary (well, it's set in the then-current 1920s, which means now it almost qualifies as historic). The movie follows the course of love, giving us a typical example of courtship (meeting the parents, jealousy, etc) and how that situation would unfold in each time period. Naturally, many of the jokes come from seeing how much things haven't changed.

In the historical time periods, much of the humor is derived from having anachronisms in the form of modern conveniences: the Caveman Keaton plays golf with a huge rock club, and the Roman Keaton has a sundial watch. It's a pity that these sort of gags would be endlessly ripped off in later films, as it does take a little of the shine off them here. Still, what may not seem fresh anymore nonetheless remains amusing.

I liked this movie even though there isn't too much in the way of Keaton's noted physical comedy. There are a few jokes that rely on him bouncing in and out of things, but to a far lesser extent than usual. There are some impressively large-scale sequences (I'm thinking of the rock battle, the chariot race, and the football game) that had me grinning. This is a film that is more amusing than it is laugh-out-loud hilarious.

Also included are two short films: THE GOAT and MY WIFE'S RELATIONS.

THE GOAT contains two staples of the short films of this era. Jokes about being hungry, and people running away from the police as fast as they can. Keaton finds himself in what could almost be described as a preview for another short film he would complete the following year, COPS. In both films, Keaton begins by minding his own business, but then accidentally running afoul of the police. He must run quickly to avoid arrest, while devising neat ways of eluding his would-be captors. He eventually gets confused for the infamous escaped criminal, Dead Shot Dan, and finds himself wanted, dead or alive. Misdirection and near misses are the order of the day, as Buster becomes increasingly frantic in his escape attempts. This is really my favorite kind of Buster Keaton short film: Buster running frantically through city streets, using every kind of transportation he can to get away from someone.

In MY WIFE'S RELATIONS, Keaton finds himself (after a mix-up at City Hall) married to an enormous Irish-Catholic woman and her enormous Irish-Catholic family. There isn't too much to say about this one. Keaton, a WASP, tries to survive in an immigrant/ethnic family. Naturally, by the end of the twenty minutes, he's engaged in a pitched battle against an outraged group of people he hadn't even met at the beginning. The back of the DVD casing claims this film "reflects some of the tensions between Keaton and the Talmadges, his real-life in-laws", which is a bizarre claim (and one I've seen contradicted). Did Keaton's in-laws really pelt him with bricks, and would he exit their house by wrapping up in a carpet and rolling down the stairs?

The THREE AGES DVD contains three films, which at their worst are merely amusing, and at their best are hilarious. THE GOAT is by far the best that this has to offer, but THREE AGES and MY WIFE'S RELATIONS definitely have their moments. It's a pity that the picture quality isn't terrific, but when the material is over eighty years old, one can't afford to be picky.

The Three Ages/ THE GOAT/ My Wife's Relations
THREE AGES is Buster's first feature where he has creative control. This is three shorts within a feature. Many great moments in each of the "Three Ages". I love the race scene with the dogs. In my view, The Three Ages is just a notch below his greatest movies, which is to say it is still a classic. This tape also includes two shorts: The Goat and My Wife's Relations.

THE GOAT IS BUSTER'S BEST SHORT and maybe the funniest short EVER made. Buster is mistaken for a killer "Dead Eye Dan". Big Joe Roberts plays the heavy.

Three Busters for the Price of One
Three Ages is often referred to as a parody of Griffith's Intolerance. However, a gap of seven years between the release of the two films makes this interpretation not as straightforward as it might at first appear. Moreover, Intolerance was something of a financial failure and it is far easier to parody a recent commercial success. There are similarities between the two films, but these should not be overemphasized, for whereas Griffith's film tells four very different stories, what distinguishes Keaton's film is that it tells three stories which in essence are the same. Keaton makes his point regarding the similar problems facing lovers through the ages by having them face the same recurring situations. The three stories resemble each other so closely that much of the humour of the film lies in the comparison between them. Thus Three Ages is not merely three short films spliced together. It is a far better and more unified film than that.

Many people seem to consider that Keaton was somehow merely practicing for his later triumphs when he made Three Ages. Granted it does not reach the heights of The General, but it should not be considered as some sort of minor piece of juvenilia. Keaton may not yet have been at his very best, but he could still make a film with many extremely funny and inventive moments.

Three Ages remains a highly enjoyable film, but it must be admitted that the print used for the DVD is quite poor. After watching near perfect prints on the other Keaton DVDs which Kino have released, one is left with a sense of regret that Three Ages did not survive in better condition. Still perhaps we are fortunate to be able to see the film at all. Keaton, at one point, told an interviewer that he thought the film was lost entirely.

Of the two short films included on the DVD The Goat is the best. Quite why it is called The Goat I'm not sure, but it is very funny and includes some hair-raising stunts which even Harold Lloyd might have balked at performing. It is said that My Wife's Relations reflects Keaton's relationship with his real wife's family, but this is to read back into the film problems which arose later than 1922. Keaton, at this point, was still happy with his wife Natalie Talmadge as is shown by her being given a starring role in the following year's Our Hospitality. My Wife's Relations should not then be viewed as autobiography, but rather as a fairly good comic farce. It has some fine scenes, but lacks the subtlety of Keaton's best films, for the supporting characters are really a series of grotesques.

This Set Contains My Favorite 2-Reeler
THE THREE AGES (1923): "The Three Ages" is the telling of 3 love stories, set at 3 different periods in history: Stone Age, Roman, and Present (1920's). All 3 stories have the same plot: innocent Buster is competing for a girl who's also being wooed by a flashy rival, played by Wallace Beery in a pre-fame role. "The Three Ages" is Buster's debut as a feature-length movie star. Because it was his first try at the big reels, he decided to tell 3 stories, so that if he was displeased with the outcome, he could release the 3 stories as 2-reel shorts, the best of which, I think, is the 1920's-period sequence. "The Three Ages" worked out for him and was a hit when it was released, but I would not rank it as high as the classic features he made in the future, such as "The General" and "Steamboat Bill, Jr.". Still, it's fun to watch, and has clever gags.

THE GOAT (1921): Out of 35 Buster 2-reelers I've seen, "The Goat" is my personal favorite. One reason is because Buster intentionally made himself look like a moron by opening "The Goat" with a clever gag of himself getting into a long bread line that happens to end in front of a male clothing store, outside of which stand 2 mannequins that look like they're in the line, and which he gets behind and thinks are real guys. We see the line progressing towards the bread-receiving window, but Buster stays stationary because, of course, the mannequins are immobile. "The Goat" also includes the famous "bullseye" scene of Buster sitting on the nose of a train that's speeding directly towards the camera and stops just short of inches from it. "The Goat" contains some great street shots of Los Angeles in 1921. In the far distance, you can see some slow horse and wagon transportation eerily driving by, evidence that even in the early 1920's, the U.S. hadn't fully made the transition to 100% automobile. On the night I found out I wasn't getting promoted at my workplace, I decided it was either the neck of a whiskey bottle or "The Goat" that I was going to reach for. I chose "The Goat".

MY WIFE'S RELATIONS (1922): Charging him with a citizen's arrest, an old battleaxe brings Buster before a judge - a polish-only speaking judge - who thinks they want to get married. The judge performs the ceremony in a language the 2 don't understand, and they idiotically say "yes" to everything he asks them. Buster goes home to the shanty where his bride lives with her dad and loser brothers, and they start brow-beating him right away. Ho-hum...Buster makes the best of a bad situation. When the family erroneously finds out that he's coming into an inheritance, they kiss his you-know-what, until the end of this 2-reeler, when they find out he hasn't got a dime, and go back to beating him up again. "My Wife's Relations" is thought by Buster scholars to have been based on his real-life domestic situation, involving his wife Natalie's famous actress sisters and their overbearing mother. ... Read more

Reviews (8)

Boating With Buster
The Navigator -- a luxury liner set adrift with no crew apart from Buster Keaton and his would-be fiancé. After eventually finding each other aboard the giant craft, they must work together to survive. Totally cut off from civilization their needs are the most basic: they must use all their wits to survive hunger, thirst, and ghosts. Falling under the "not so basic necessities" category, they must also repel an invasion from a group of unfortunately characterized islanders.

This film clocks in at just about an hour. And like many the Keaton films of this length, this is very much a collection of related set pieces, only loosely connected by plot. Fortunately, the sequences here are very funny. The breakfast scene is quite amusing, with the two trying to prepare food in a kitchen that is well stocked in some things, but lacking in other, necessary items (i.e. lots of cans, no can-opener in sight). Naturally, as with any Buster Keaton movie, confusions abound; the hapless pair mistakes fireworks for candles, and a photograph for a poltergeist.

As with most of Keaton's better films, several elements all come together to create something worthy. The slapstick comedy is present, of course. But the action sequences are epic and give the store a real feeling of adventure.

In addition to the main feature, included on this disc are two of Buster's short films that also deal with nautical adventures. First up is THE BOAT, in which Buster Keaton, devoted father and husband has a dream of building and captaining a sailing ship of his own. He ultimately realizes his goal, but the opening scene shows us the first of what will become many miscalculations; he's constructed a boat in a basement, and doesn't realize that he has no way of fitting it through the door. But sacrificing everything that he has, up to (and almost including) members of his family, he eventually finds himself, his loved ones, and, indeed, his homemade boat happily floating on the ocean surface. The little scenes and short gags that make up this film are really well done. The props they built are impressive; from the outside of the boat, to its interior which rotates on its horizontal axis a full 360 degrees, making the ceiling quickly become the floor (Keaton dealing with an barrel-rolling boat is simply hilarious).

THE LOVE NEST is another of those films where a standard Silent Movie Heavy throws little guys around like rag dolls. In this case, it's Joe Roberts as the gruff captain of a whaling ship who throws his minions overboard when they displease him in the slightest (he's not totally without heart; he throws wreaths to mark his underling's watery graves).

Even though all three of the films on this disc involve seafaring, there is no real repetition. No jokes are recycled. A lot of Buster's gags involved water in some way; he was constantly falling into it, or having it dumped on him, or dropping it on his adversaries. It just goes to show you how creative Keaton was when he can take what are essentially cheap laughs and turn them into something so ticklish. Give him one simple premise (himself on a boat), and he can spin off a hundred different jokes. This disc definitely shows Buster Keaton at his comic best.

(Some of these prints are showing their age, but since that age is about eighty, that is only to be expected. I hope I'm as well preserved when I'm that old.)

How funny can one movie be?
No other movie I've ever seen - with the possible exceptoin of the first Richard Pryor concert film, which isn't quite the same thing - has ever made me laugh as much, or as hard, as this. That the gags are peerlessly set up and flawlessly executed is to be expected with Keaton, and he made better films than this ("The General" comes to mind, of course) but for sheer, painful belly-laughs, none of Buster's work, for me, comes close. A few moments of many: Buster's idiot girlfriend making coffee; their eerily hilarious meeting on the drifting boat, so perfectly timed and played it should a) serve as a model for all physical comedians and b) never be done again; and Keaton's underwater duel with a swordfish. Just don't watch it while you're eating, and keep a pillow by the couch for falling on.

A treat for all Buster Keaton fans
This collection contains six enjoyable shorts of Buster Keaton's work. Great fun for silent-film fans!

Maritime mayhem
This DVD contains one feature and two short films, all with a oceangoing theme. "The Navigator" from 1924 was the oldest film on AFI's "100 Years, 100 Laughs" list of the 100 funniest movies. Keaton finds himself adrift on a large ocean liner with the woman he had hoped to marry as his only companion. There are several funny scenes including Keaton's reaction to drinking coffee made with seawater, mistaking fireworks for candles, Keaton's underwater duel with a swordfish, and a climax involving several dozen boxes of fireworks and a tribe of island cannibals.

"The Boat" and "The Love Nest" are the two short films, with "The Boat" being the better of the two. Keaton builds a boat called "Damfino" in his house then destroys the house trying to get the completed boat outside. When he and the family get into trouble during a storm, the boat's name is used in a very funny scene with a coast guard telegraph operator.

Overall, this is a wonderful DVD more than worthy of a four-star rating. I wish there had been a four and a half star rating since I reserve the five star ratings for true masterpieces (like Keaton's "The General").

Buster's Maritime 3
THE NAVIGATOR (1924): One of Buster's best features. A fast-paced fun collection of classic gags, Buster filmed on top of "The Buford", a ship that was actually used by the U.S. govt. to dump alleged Bolsheviks out of the USA and into Russia in 1919. The film begins with Buster proposing marriage to his gal, who turns him down. The two mistakenly wind up on the ship, called The Navigator, which happens to be deserted and floundering at sea. They make do the best they can, and eventually must deal with cannibals on a tropical island. One of the funniest Buster gags I've ever seen is in this movie - while he's trying to go to sleep in his cabin, his gal throws a snarly-looking portrait of a swabo out of her cabin and it lands on a nail outside the porthole window of Buster's cabin. It swings from side-to-side, giving Buster the illusion that The Navigator is haunted. More haunted-ship gags follow (spook gags show up in other Buster films), which makes me wonder if Buster was influenced by something he saw not-of-this-world in the 1000 or more boarding houses and hotels he stayed in during those previous 20 years in vaudeville.

THE BOAT (1921): In this 2-reeler, Buster builds a boat, called The Damfino, in the basement of his home. Since the garage doors are only meant for something like a Model T, Buster idiotically collapses his house as he forces The Damfino through this small opening. No one in the family seems to be bothered that their home now looks as if it was hit by a tornado, as they proceed to drive off to launch The Damfino. "The Boat" was thought to be one of Buster's lost films. It miraculously got pieced together recently, and that is what you'll find on this DVD. There are some scenes that have a curious blue tint that alternate with b&w scenes, and a few scenes have chemical decomposition, but none of these shots lasts more than a few seconds. Watching "The Boat" sometimes gives me motion sickness because of the somersaulting camerawork in a scene near the end. If my head is not spinning from this, I'll move on to....

THE LOVE NEST (1923): Buster's had a spat with his gal, and writes her a letter that happens to end with "write me if you don't get this letter". He sets sail in a crippled boat that is stocked with junk like hard tack and zerolene. Evidence of the passage of time is shown by the fake beard painted on his face that makes him look like a half-minstrel. Desperately, he climbs aboard a boat called The Love Nest that ironically is run by a sinister captain who throws his crew overboard if they should make the slightest mistake. One of the funniest gags in this 2-reeler shows Buster standing in front of a navy target range, then grainy stock footage of active naval destroyers is shown, which blow him sky-high. ... Read more

Reviews (14)

Funny, exciting classic
Watching Seven Chances, it's easy to see why Buster Keaton was considered one of the greatest comics of the silent era (although I still prefer Harold Lloyd). The basic premise is that Buster learns that he'll inherit a fortune if he is married by 7 p.m. What follows is a non-stop riot. This has some of the funniest sequences ever filmed, and the final race to the church is so funny that it's almost painful to watch. This is easily one of the top four or five silent comedies, and a great film for introducing people to silent cinema.

Kino's DVD looks great, and features two Keaton shorts, Balloonatics and Neighbors. I highly recommend this.

Seven Chances
Seven Chances is a farce comedy. Buster must get married by 7PM to inherit $7 million. This is Buster's weakest silent feature (The Saphead doesn't count). Buster felt this was his weakest feature and did not want Raymond Rohauer to reissue it. Seven Chances is not a bad movie, any Buster Keaton movie prior to MGM sound is worthwhile. However, it's just nowhere near Buster's best. Lots of running by Buster helps the momentum near the end. The scene with the boulders is very good. This tape also contains two shorts: Neighbors and The Balloonatic.

All we are saying is give Keaton a chance
I'm at a bit of a loss to explain what I thought about SEVEN CHANCES (1925) as a whole, because I had such a mixed reaction to it. The beginning and middle go from being sort of fun to being downright offensive. It's the last twenty or so minutes that save this fifty-six minute feature. They're absolutely terrific and encapsulate all of the things that Buster Keaton did so well.

The premise for this movie is overly simplistic and rather contrived, but then again, we aren't looking for Machiavellian plots out of most romantic comedies. Buster Keaton finds himself as the recipient of a large inheritance. As one could guess, this windfall comes with a catch: if he is married before seven o'clock on his twenty-seventh birthday, he gets the cash. If he isn't married by that time, then he gets nothing. (Wouldn't we all love to put weird catches like that into our last will and testament? I'm planning to withhold everything from my next-of-kin until they put on a clown suit and run down Interstate-270 during rush-hour shouting the lyrics to Eminem's "Lose Yourself".) Since it turns out that today is the unmarried Keaton's twenty-seventh birthday, he races around desperately trying to tie the knot with someone -- anyone. Naturally, there is one special woman who we all know that he's supposed to end up with, but we have to wait until the very end for the movie to reward us with the anticipated conclusion.

If that plot summary sounds familiar to any reader out there, it's probably because the film was remade recently with Chris O'Donnell in the Buster Keaton role. I haven't seen that version of the movie, and I can only assume that the decision was made because a movie mogul had some sick desire to see the words "Chris O'Donnell" and "Buster Keaton" in the same sentence. This movie is less successful when sticking close to its initial foundation. Indeed, the Keaton character's unwillingness to marry outside his WASP background is responsible for two of the more uncomfortable moments. (What is it with this disc and bizarre attitudes towards race? I know it was a less enlightened time, but I've been making my way through the "Art of Buster Keaton" DVD box set and the stuff here really stands out as unusual. And one of the included short films has its own groan-worthy sequences: would any cop really be so dimwitted as to be confused about Buster Keaton's ethnic background just because of some mud on his face?)

What this film is mostly remembered for is its incredible chase sequence that more or less takes up the entire last third. Suddenly realizing that there is only One True Woman that he can possible wed, Keaton must escape the clutches of the thousands of would-be brides who want to get their hands on Keaton and his cash. This leads to sequences of several hundred extras in wedding gowns racing through the city streets, which is almost as funny a visual as the hundreds of angry police-officers chasing Keaton in one of his short films (the aptly named COPS). But it's Keaton's physical dexterity that makes this memorable.

For example, after escaping the city, he races across countryside. He comes to a cliff and quickly throws himself off it, reaching out and grabbing a tree to save his fall... a tree that is being chopped down and which slowly topples as soon as Keaton lands on it. Undeterred, he immediately gets right back up and starts running again. A few minutes later, he's racing down a rocky hill, inadvertently causing a rockslide. Watching Keaton sprinting down a sandy incline while dodging large boulders is amazing. At one point, he comes to a standstill and concentrates solely on avoiding the rocks. He leaps over some. Others he ducks under. He jumps to the left to dodge them. He jumps to the right. My first thought on watching this was that Keaton got himself into a live-action version of Donkey Kong, with fake boulders instead of barrels. I love this sort of Keaton stunt work where I can both admire and laugh at a sequence at the same time.

Also included are two short films. The first item on offer is NEIGHBORS (1920). This one reminded me quite a bit of Chaplin's EASY STREET (a long time favorite of mine), at least the parts where Charlie is jumping in and out of windows and doors to avoid the mighty Eric Campbell. Here, Keaton is attempting to get some alone time with daughter of the house next door, and using a electrical-cable as a zip-line is just one of his inventive stunts. A hilarious short and one full of great physical comedy.

The other short film is THE BALLOONATIC. The eponymous balloon serves merely as the McGuffin to deposit Keaton into a surreal camping adventure. You can't help but love the completely straightforward way Keaton's character always dealt with life. You see a hot-air balloon? Start climbing all over it! You drop out of the sky into a remote forest that's miles from anywhere? Never mind getting home -- just have a vacation right here and now! This print is very scratchy, but it's still quite watchable.

Although I was faintly bored by most of the main feature's first forty minutes, this disc is well worth the purchase for everything that comes after that: the incredible and hilarious extended chase sequence and the two inventive short films.

Buster Keaton is a genius
The long sequence which ends SEVEN CHANCES, in which Buster Keaton is chased by boulders and hundreds of jilted brides, is quite possibly the funniest thing I have ever seen on film. The inventiveness, the magnificent physical dexterity, the rolling, relentless pacing which matches the rolling, relentless boulders, make this film a gem despite a rather so-so first half (hence the 4 stars rather than 5). The two shorts on the disc also include some brilliant, hilarious stunts. For some reason I had not paid much attention to Keaton before seeing this disc recently. I'm glad to have "discovered" this irresistible, enormous talent.

An example of Buster's genuis
When it comes to silent comedy, I'm a Harold Lloyd/Our Gang man, but this film has increased my appreciation of Buster keaton.

The man was a comic genius. Although the story is wildly improabable, you wind up caring about what happens to Buster and his finacee.' The mad chase scene, while a bit drawn-out, shows remarkable comic timing and while it may not make you laugh out loud, you have to admire the work that went into this.

The only drawbacks are the elements of the racism of the era. The finacee's handyman is clearly a White actor in blackface (an odd choice, since there are a couple of other actual Black actors in the film). One rather crude scene has Buster approaching a possible "wife" on a park bench. He retreats when she opens up a newspaper written in Hebrew. A short while later, he admires a young lady from behind and tries to talk to her, only to "hit the road" when she turns to reveal she is Black. But being a film purist, I would not recommend that these offensive scenes be removed from current prints. They should stand to show the mentality of that era.

That aside, it's a great film. ... Read more

Reviews (3)

Go West/ The Scarecrow/ The Paleface
Go West is a feature. The Scarecrow and Paleface are shorts. GO WEST is a very good movie, just a notch below Buster's best. Buster is a cowboy and his best friend is a cow. A very funny movie. There is some sentiment in Go West, which is not typical of Buster. And the pace is a little slower. THE PALEFACE is one of his best shorts. Buster walks on to an Indian reservation and ends up as their friend. The scene when the Indians start to dance is great. THE SCARECROW is also top-drawer. Tons of funny sequences.

Wonderfully Funny
This is one of my favourite Buster Keaton films. It was different, with Buster playing 'Friendless' who goes west looking for prosperity. He ends up on a ranch and meets 'Brown Eyes'-a cow. He becomes friends with the 4 legged beauty after removing a stone from her hoof. He protects her and vice versa, until she is to be sent away for slaughtering, and Buster goes with her, but can he save her, and get the thousands of cattle with her to the stockyards? Superbly funny and sentimental, and the last time Buster wore his traditional costume of baggy trousers, slapshoes and clip on tie. Buster actually trained 'Brown Eyes' himself. In the film, Buster is asked to smile during a card game, but does he-? THE SCARECROW is one of my favourite short's. It is about Buster and his friend (Joe Roberts) who are farmhands, and are in love with the same girl (Sybil Seely). The opening is spectacular, showing an amazing house full of tricks, which has to be seen to be believed. The madness continues with Buster being chased by a 'Mad Dog', who is actually Roscoe Arbuckle's faithful mutt. It ends with a chase and an elopement, and a river! Extremely funny and visually stunning. THE PALEFACE is about Buster, who stumbles across Indian territory and is chased away. It is madcap humour and fast paced with some amazing stunts in the wilderness and crazy sight gags. All three films are in perfect condition and show a variety of his skills. It is a great starter for anyone wanting to see Buster!

A change of pace for Buster
Buster Keaton didn't usually try for sentiment or audience sympathy in his great films, but GO WEST is an exception. Keaton plays a Chaplinesque loner, aptly named Friendless, who finds work on a ranch and (eventually) a friend: a cow named Brown Eyes. While Buster is as convincing in the film's sentimental moments as he is in the comic ones, there is method to his madness: he is parodying elements of D.W. Griffith's melodramas. A hilarious sequence with Buster attempting to lead a herd of cattle through downtown Los Angeles caps the film beautifully. This tape includes two very funny shorts: THE SCARECROW, and THE PALEFACE (which almost seems like a parody of DANCES WITH WOLVES, seventy years in advance!). ... Read more