Free and Easy (1930).

Review #2219: Free and Easy.

Cast: 

Buster Keaton (Elmer), Anita Page (Elvira), Trixie Friganza (Ma Plunkett), Robert Montgomery (Larry Mitchell), and Lionel Barrymore (director) Directed by Edward Sedgwick (#774 - The Phantom of the Opera, #1774 - The Cameraman, #1937 - Spite Marriage)

Review: 

At last, it was time to hear the words of Buster Keaton in a film. This was the third feature film with Keaton at the hands of Metro-Goldwyn-Mayer, which came after The Cameraman (1928) and Spite Marriage (1929). Followers of Keaton already know that his MGM tenure was the one he regretted the most, but at least those two films were actually liked by people even when it came to studio-maintained mayhem. With this film, one would get the weirdest of the two worlds: a movie where Keaton gets to talk and also gets to be in the foreground in favor of featuring cameo appearances from performers such as Willy Haynes, Jackie Coogan, Lionel Barrymore and, well, also Cecil B. DeMille and Fred Niblo. The film was shot in several languages such as Spanish (the latter was called Estrellados, which had Keaton play opposite a different lead actress) and French (mainly with intertitles, but still). There are three credited writers: Richard Schayer (a career guy behind co-work such as The Mummy) wrote the "scenario", while Paul Dickey did the "adaptation", and Al Boasberg (one of the co-writers of The General) was behind the dialogue. Made for roughly $500,000, the film was enough of a hit with audiences that Keaton would continue to do a few more films with MGM, such as his next sound feature with Doughboys (1930) and five further films until 1934.

Poor, poor, poor Keaton. There have been so many good Keaton movies in the previous decade that it becomes apparent not long into this one that he has become a puppet for mediocre setups. Sure, his accent when it comes to voicework is pretty earthy on the ears and he does have some interesting moments when it comes to antics within the backlot. But the romantic triangle is flabby and pathetic, and the overall execution is 92 painfully average minutes that cannot measure even with one of his weaker silent efforts such as say, The Saphead (1920). It is plain and all-around just not interesting to watch a movie dilly-dally on a set when you've seen better days for Keaton in mayhem. You've seen better movies when it comes to "inside a studio" in films such as Show People (1928), which incidentally was also an MGM film. The funny thing about Page was fresh off The Broadway Melody (1929), the original all-talking MGM musical (mediocre as hell to folks like me, but it was a really big thing back then). Her and Montgomery have about as much energy together as a sound test. Probably the one highlight is Keaton getting to audition as an actor and doing such things like bumbling a line about swooning queens. He may be playing a silly boob, but at least he at least is physical enough and committed enough to even try his hand at singing. God help us the film is one of those that thinks it is amusing to have a conversation where characters think they are talking about the same thing but actually are not. I don't even feel like thinking about the downbeat ending, because, well, it seems fitting to give an ending where our hero gets the shaft in a non-memorable movie. In the long run, going from any random silent Keaton feature to this film is practically like night and day. It is a movie that probably would've been better if done a few years earlier because, well, Keaton would've had the time and energy to really make it a worthwhile effort. Instead, it is just not worth the effort to call it a lame movie.

Overall, I give it 5 out of 10 stars.

Spite Marriage.

Review #1937: Spite Marriage.

Cast: 

Buster Keaton (Elmer Gantry), Dorothy Sebastian (Trilby Drew), Edward Earle (Lionel Benmore), Leila Hyams (Ethyl Norcrosse), William Bechtel (Nussbaum), John Byron (Scarzi), Joe Bordeaux (Rumrunner), Ray Cooke (The Bellboy), Mike Donlin (Man in Ship's Engine Room), and Pat Harmon (Tugboat Captain) Directed by Edward Sedgwick (#774 - The Phantom of the Opera and #1774 - The Cameraman) and Buster Keaton (#757 - Seven Chances, #762 - College, #805 - The Navigator, #877 - Three Ages, #908 - The General, #926 - Our Hospitality, #941 - Sherlock Jr, #1037 - Go West, and #1058 - Battling Butler, #1173 - Steamboat Bill, Jr,, #1774 - The Camerman)

Review: 

It may be an odd film to term as a "swan song", but this is one such case where it applies. This was the second feature film with Buster Keaton as star at Metro-Goldwyn-Mayer, a decision that he later called the worst mistake he ever made. But The Camerman (1928), his first effort for the studio, was actually pretty good, since it had plenty of spontaneity along with scope to make a fun comedy. As such, Keaton wanted to make his second MGM feature a sound film, but the studio did not have enough of the recording equipment for that they felt was just another comedy. The following year, he did his first sound film with Free and Easy, but Keaton never directed a full feature after this film (which he didn't even receive credit for anyway), aside from a handful of gag direction assignments. In fact, the film was more in the control of the studio, who clearly wanted to cultivate a moneymaker with their star rather than the decent success of the last film. In short: the long and wavering road of improvisation became washed away by a studio that just wanted to see things run smoothly. Well, for the last Keaton silent film, there is one key exception: The film has a musical score and sound effects that come in from time to time. The film runs from 74 to 80 minutes, depending on what kind of print you find of the film.

The story was written by Lew Lipton, while Ernest Pagano also wrote for it, and Robert E. Hopkins wrote the intertitles. It certainly isn't the best Keaton feature when you consider the ones that came before it, but the movie is generally entertaining in the general ways that you would expect to make a worthy high note to finish the silent era for Keaton. His physical performance seems quite adept to what is needed for the general climax (on a yacht) while playing just fine with the loose plotting and scenario. The movie basically seems like two loose scenarios presented into one: a lovable oddball tries his hand at marriage when a lady wants to make someone else jealous (after trying his hand at acting that goes how you would expect) that eventually segues into adventure on the sea when the marriage falls out of hand (before falling into hand). Sebastian does make a decent leading lady in charm, while Earle makes a suitable cad. Undeniably, the highlight sequence might be one where you get to see an attempt by one inebriated person to get another inebriated person to bed without waking them up. The comic timing of the film may feel as fresh as one sees from Keaton, but the scene is still quite diverting in execution. Of course, Keaton participating in a Civil War melodrama play is a last little gasp at Keaton trying his hand at something only to fall down the pit of amusement, which works to the level one would hope in silly falls without riding the joke down to the ground. The climax does have semblances of his previous works such as The Navigator (1924) and Battling Butler (1926), but even familiar Keaton material is still fun material to watch play out, mostly because Keaton still has the energy to make the chuckles come out. As a whole, it is a light charming movie, a last hurrah for Keaton in the silent era that closes out his run of visual gags and physical comedy with a solid enough impact to make it worthy to view last among the accomplishments done by the actor/director. 

Overall, I give it 8 out of 10 stars.

The Cameraman.

Review #1774: The Cameraman.

Cast: 

Buster Keaton (Buster), Marceline Day (Sally Richards), Harold Goodwin (Harold Stagg), Sidney Bracey (Edward J. Blake), Harry Gribbon (Hennessey, the cop), with Josephine the Monkey, Richard Alexander, Edward Brophy, and Ray Cooke. Directed by Edward Sedgwick and Buster Keaton (#757 - Seven Chances, #762 - College, #805 - The Navigator, #877 - Three Ages, #908 - The General, #926 - Our Hospitality, #941 - Sherlock Jr, #1037 - Go West, and #1058 - Battling Butler, #1173 - Steamboat Bill, Jr)

Review: 

“When we made pictures, we ate, slept, and dreamed them.”

Buster Keaton, as is the case with several folks that thrived in the silent era, deserved better. He thrived best as one of the comedy pillars of the silent era, but his popularity underwent its demise not long after his decision to sign a contract with Metro Goldwyn Meyer. Of course, it actually really started with The General (1926), arguably his greatest film. The mixed success of the film at the time led his distributor in United Artists making sure to monitor him more carefully in expenses. With this film, it fell to MGM to try and manage him, with Keaton not even given credit for co-direction; Sedgwick, known for his un-credited work for 1925's The Phantom of the Opera (#774), shouldn't be diminished, since he tried to maintain his authority before quietly telling Keaton to help guide him. Keaton would later call his decision to join one of the worst of his life, one that would last until 1933. Instead of doing all the stunts, now he had stuntmen (after this film, anyway). Perhaps it is a coincidence that a movie involving cameramen name-drops the studio in the film. done by MGM. He wanted Spite Marriage (1929, the film released after this one) to be done ss a sound film, but the studio (headed by Irving Thalberg in production) wanted it to be done simply and under their control. As his workload got tougher in the next few years (which came with attempts at pairing him with Jimmy Durante for three films), his personal life fell apart, and he was fired from the studio midway through the 1930s. At any rate, this film managed to do quite well with audiences, even though it was believed to have been lost because of the 1965 MGM vault fire; three years later, a print was found in France, proving that is important to keep looking (a 1991 print was combined with this one to make the restored version one knows today). The film was written by Clyde Bruckman and Lew Lipton, with Joseph W. Farnham for titles. 

For what it is worth, the studio would show this film to new directors over the next few years about what a well-constituted comedy looked like. It is always hard to say just which Keaton film is the best, because he managed to do so well as one of the masters of the deadpan, the visual gag, and all-around master of charm. Even with a lessened capacity in terms of control with his comedy (i.e. not just him having an idea he could flesh out in the middle), he still is at the top of his game. His expressions in the face of amusing situations manages to never waver, always seeming to zone in on what is needed without becoming a malleable prop or just a stone face. He might not have as many dangerous stunts to pull around, but he still finds ways to make worthy humor come from arranged sequences, such as a street skirmish or sequences in a pool room. Day accompanies him with fair timing that fits what is needed, since one just has to make sure they don't look overmatched when it comes to being together. They match well, and the boat sequence is a useful one to note. At any rate, there are a few folks that Keaton pairs himself with for a gag, whether involving a monkey or with a hapless Gribbon (Goodwin does fine as the stooge). Of course, maybe the biggest smirk on my face comes with his scene at Yankee Stadium (an improvisation on his part), acting out the game to an empty crowd. At any rate, the sequence involving him shooting (or at least attempting) with the camera prove quite interesting, as a sort of film-within-the-film (which in that sense might remind one of Sherlock, Jr), complete with "mistake shots" and a climax with an absolute zinger for a line. The 67 minute run-time is effective to where one might want to see it twice just to absorb those visual gags again and again. It is the last great classic with Keaton in control, and he does everything one might see from him, never seeming compromised or constrained in his comic vision. No matter who stands out as your comic favorite of the silent era, Keaton's The Cameraman is still a great triumph for its era.

Overall, I give it 10 out of 10 stars.

I want to close this review off by acknowledging that today is the eleventh anniversary of the beginning of Movie Night. What a time we live in. 4,018 days since that day has seen 1,774 reviews, which means a review has been done every 2.26 days on average. As always, I wish to express my gratitude to anybody who has had the curiosity to check out this show over the years and anyone who has stuck around to check out what somebody on the Internet has to say about some random movie, whether good or bad. I hope that the years that follow lead to a continuation of interesting films to encounter and ponder about and that you are there to read all about it. Onward to the next row of films for the holidays.

Steamboat Bill, Jr.

Review #1173: Steamboat Bill, Jr.

Cast: 
Buster Keaton (William Canfield, Jr.), Ernest Torrence (William "Steamboat Bill" Canfield, Sr.), Marion Byron (Kitty King), Tom McGuire (John James King), and Tom Lewis (Tom Carter) Directed by Charles Reisner and Buster Keaton (#757 - Seven Chances, #762 - College, #805 - The Navigator, #877 - Three Ages, #908 - The General, #926 - Our Hospitality, #941 - Sherlock Jr, #1037 - Go West, and #1058 - Battling Butler)

Review: 
Steamboat Bill, Jr (1928) was the tenth film with Buster Keaton as its main star along with director, although he was not credited for doing the latter unlike with other movies of his. He also reportedly wrote the story for the film, although only Carl Harbaugh was given credit for it. It also served as the last of his films to be distributed by United Artists, as he signed a deal with Metro-Goldwyn-Mayer, who would distribute Keaton's last two starring/directorial efforts (The Cameraman, which was released a few months after this film, and Spite Marriage, which was released the following year). In any case, the film was not an immediate success upon its release, but it has received a following of its own, much like with other Keaton films. It isn't too hard to see why, since Keaton manages to cobble an entertaining feature, filled with some fine gags, a few zippy title cards, and stunts that one would expect from Keaton. He does a fine job leading the way as one would expect, having fine timing and the right kind of expressions to go alongside the effective gags. Torrence does fine with his scenes with Keaton, evoking a few chuckles. Byron and McGuire are fine counterparts when needed in the story, although neither contribute too much in laughs. The characters (for which there aren't too many of) are fairly familiar types, but the film is charming enough to roll along with itself without too much time spent doing silly things. The climax is certainly an entertaining one. A good chunk of the budget (estimated to be around $300,000-$400,000) was spent on the cyclone sequence, having breakaway sets and wind machines. The original intent of the sequence was meant to depict a flood, but this was nixed by producer Joseph M. Schenck, in part because of the Mississippi River Flood that had occurred the previous year. It's a pretty impressive sequence, with the most notable part being where an entire building facade (with only the attic window being open) collapsing all around Keaton, which he did with no camera trickery. Even after nine decades since the film's release, it is still a sight to see, and it does invite chuckles (if not a bit of astonishment) that click with the other parts of the climax. On the whole, the film is a fairly enjoyable and generally consistent one that ranks up just fine with Keaton's other features; it may not be one of his best, but it is still one worth a look.

I want to close this review off by acknowledging that today is the eighth anniversary of the beginning of Movie Night. This show has had written reviews on a fairly consistent level in the 2,922 days from 2010 to 2018, averaging a review roughly every 2.5 days (or so the math says). Although the quantity of reviews has fluctuated over time, I will say that my passion for writing about films and watching them has not declined in the slightest. I wish to express my gratitude to anybody who has had the curiosity to check out this show over the years and anyone who has stuck around to check out what somebody on the Internet has to say about some random movie, whether good or bad. I hope that the years that follow lead to a continuation of interesting films to encounter and ponder about and that you are there to read all about it. Thank you for eight fine years. I would also like to wish you all a Merry Christmas and a Happy New Year.

Overall, I give it 8 out of 10 stars.

Battling Butler.

Review #1058: Battling Butler.

Cast: 
Buster Keaton (Alfred Butler), Sally O'Neil (The Mountain Girl), Walter James (Her Father), Budd Fine (Her Brother), Francis McDonald (Alfred "Battling" Butler), Mary O'Brien (His Wife), Tom Wilson (His Trainer), Eddie Borden (His Manager), and Snitz Edwards (Alfred's Valet) Directed by Buster Keaton (#757 - Seven Chances, #762 - College, #805 - The Navigator, #877 - Three Ages, #908 - The General, #926 - Our Hospitality, #941 - Sherlock Jr, and #1037 - Go West)

Review: 
Battling Butler was Keaton's eighth starring role in a feature film, and it was based on a stage play of the same name by Walter L. Rosemont and Ballard MacDonald, which had ran for 313 performances from 1923 to 1924. In any case, while I will give the film credit for having some amusing moments, I can't say that it is one of Keaton's finest pieces of work. Keaton is sharp as ever, particularly in the boxing sequences, which serve for some fine laughs along with showing his willingness to do rough stuff (such as stunts) in order to sell the scene, which works fairly well. O'Neil is fine, having the kind of energy and grace you'd expect. James and Fine prove to be fairly imposing figures, leading to a few laughs. The rest of the cast is okay; Edwards proves to be a fairly amusing character to follow throughout the film, having the kind of expressions and movements you'd expect from him. The movie goes at a fair pace of 71 minutes without any real slog, although the parts with boxing/training fare a bit better than the other parts, which are okay if not anything too special. It is fun to see Keaton play a pampered individual, and he does a decent job with making the character as likable as he can. The sequence at the end with Keaton boxing is pretty decent, serving as a good way to cap the film (that, and him walking off with the girl with a top hat and boxing shorts). The film doesn't stand out too great from Keaton's other films (such as his classics), but it is at the very least acceptable entertainment, compact with decent gags, a flowing story and just enough zip to come out a winner of sorts.

Overall, I give it 7 out of 10 stars.

Go West (1925).

Review #1037: Go West.

Cast: 
Buster Keaton (Friendless), Howard Truesdale (Owner of the Diamond Bar Ranch), Kathleen Myers (His Daughter), Ray Thompson (The Foreman), and Brown Eyes (Herself) Directed by Buster Keaton (#757 - Seven Chances, #762 - College, #805 - The Navigator, #877 - Three Ages, #908 - The General, #926 - Our Hospitality, and #941 - Sherlock Jr)

Review: 
Go West was the seventh feature film starring Buster Keaton, who also served as director (doing so for all except the first feature film that he starred in). This one features Keaton working at a cattle ranch, where he does things such as bronco-busting, cattle wrangling, and dairy farming, which go about as well as you'd expect, with Keaton forming a friendship with a cow. Admittedly, it is easy to say I enjoyed the movie, in part because it is a warm experience that has enough orchestrations and humor to make a relatively useful movie. It isn't a classic like some of Keaton's other works (such as The General or Sherlock Jr), but I will say that it is a fine little gem that serves its purpose of entertainment. Oddly, it is the dynamic between Keaton and the cow that drives the film forward, with numerous sequences between them are fairly useful and sweet in some way. The highlight of the film is the cattle stampede at the end, mostly because of how well it is orchestrated, from the reactions of the other actors to the way that the cattle move about, particularly with some of the sight gags that occur. The rest of the cast isn't too developed, but they serve their purposes well for the movie's standards. Keaton makes for a bumbling but always endearing lead, with a face made for silent era comedies like these, even if it may not fit the usual formula for his films. There isn't any sort of stunt-work that stands out too much, but I will say that there is some fun to be had with the movie and its goofiness with the premise that works out alright, with nothing too ridiculous or overdone. It takes its time to get rolling, but it sure feels worth it in the end. It has a runtime of 69 minutes, which I'm sure is nice enough for people to get a quick enjoyment.

Overall, I give it 7 out of 10 stars.

Sherlock Jr.

Review #941: Sherlock Jr.

Cast: 
Buster Keaton (Projectionist / Sherlock Jr), Kathryn McGuire (The Girl), Joe Keaton (The Girl's Father), Erwin Connelly (The Hired Man / The Butler), Ward Crane (The Local Sheik / The Villain), and Ford West (Theatre Manager / Gillette) Directed by Buster Keaton (#757 - Seven Chances, #762 - College, #805 - The Navigator, and #877 - Three Ages, #908 - The General, and #926 - Our Hospitality)

Review:
This is the shortest feature length film that Keaton directed, lasting 45 minutes (shorter than Seven Chances by around ten minutes), but that does not mean that the film is any less developed or entertaining than his other films. In fact, this is one of his best films in the achievements that Keaton makes on a technical and comedy scale; the deadpan humor of Keaton along with the gags of slapstick are high caliber for him, but it also manages to be quite imaginative with its premise (established quickly, naturally) and execution. How many movies do you know where a character walks onto the movie screen? The part where he goes through numerous film scenes before he enters the mystery world is particularly clever. The second half of the film is more entertaining than the first half for me, perhaps because I like seeing Keaton playing a detective, albeit under certain circumstances (namely, a dream). Keaton and McGuire are fine together, but the real highlight is seeing his interactions with Connelly and Crane, particularly the billiard game sequence. It's just a nice exchange between the three, and it is a scene that proves crucial in the climax, which is neat. The stunts and effects are entertainingly executed (such as the suitcase trick, or the water basin stunt, with a mishap actually resulting in a fractured neck), with the editing being a key highlight. On the whole, this is a highly competently made film, filled with entertaining aspects and imaginative setups. This is an easy film to recommend, as this is one of Keaton's best.

Overall, I give it 10 out of 10 stars.

Our Hospitality.

Review #926: Our Hospitality.

Cast:
Buster Keaton (Willie McKay), Joe Roberts (Joseph Canfield), Natalie Talmadge (Virginia Canfield), Ralph Bushman (Clayton Canfield), Craig Ward (Lee Canfield), Monte Collins (The Parson), Joe Keaton (The Locomotive Engineer), Jack Duffy (The Locomotive Leader), and Kitty Bradbury (Aunt Mary) Directed by Buster Keaton (#757 - Seven Chances, #762 - College, #805 - The Navigator, and #877 - Three Ages, and #908 - The General) and John G. Blystone.

Review:
This was Keaton's third starring role in a feature film (along with his second that he directed), and it was the second film of his released in 1923, the first being Three Ages, previously reviewed just last November by me. In that movie, there were good moments, but it was moderate entertinament that benefited from Keaton being himself. In this movie, the plot is much more focused, feeling well-rounded and working with the gags (instead of a movie with just gags and some sort of plot cobble) to make for a cohesive film. Inspired by (or better yet, satirizing) the Hatfield-McCoy feud (though the time period is decades prior to the feud), the film has a fine attention to set design, with some wonderful cinematography by Gordon Jennings and Elgin Lessley along with a good use of the locations (such as the Truckee River in California) and sets. The film is also pretty funny, too. The sight gags are present, but there is also a sense of adventure and madcap thrill that make the film stand out. The climax is a good sign of the fun present, with Keaton and Talmadge (her last film) having an easily charming kind of chemistry together along with a finale that allows the former to engage in rip roaring fun. The rest of the cast is also well put-together, with Roberts (who died a month prior to the release of the film) being a capable adversary for Keaton. One particularly interesting note is that there were three generations of Keatons in this film: Buster Keaton plays the starring character, while his father plays the locomotive engineer and his son plays a 1 year old version of the main character in the beginning of the film. On the whole, this is a fine piece of film that strives to entertain along with inspire some laughs, succeeding in both quite well.

Overall, I give it 8 out of 10 stars.

The General (1926).

Review #908: The General.

Cast:
Buster Keaton (Johnnie Gray), Marion Mack (Annabelle Lee), Glen Cavender (Union Captain Anderson), Jim Farley (General Thatcher), Frederick Vroom (Confederate General), Charles Henry Smith (Annabelle's Father), Frank Barnes (Annabelle's Brother), Joe Keaton (Union General), Mike Donlin (Union General), and Tom Nawn (Union General) Directed by Clyde Bruckman and Buster Keaton (#757 - Seven Chances, #762 - College, #805- The Navigator, and #877 - Three Ages)

Review:
The General (distributed by United Artists - released on December 31, 1926 in Tokyo) was the 8th feature length film with Buster Keaton as the star, with the silent action-adventure-comedy inspired by the Great Locomotive Chase, a true story that occurred in the Civil War, involving a military raid of a train. The stuntwork that Keaton did himself at personal risk is played to great effect, with him jumping from engines to other parts of the train along with sitting on the front of the train along with sitting on a coupling rod, which is a particularly good gag to watch. The easiest positive one will notice early is the beautiful photography, which has the look and feel of the time it is supposed to portray, where the atmosphere doesn't look fake because of the technical design, all done to good detail. One could almost get lost in how great it looks, but the film is also filled with its share of gags that manage to keep the eyes on screen. There is a good deal of action and entertainment, with Keaton reacting as only he can, with his typical straight-laced reaction wrapping well with the tone of the film. Mack is a fairly decent romantic lead, doing fine in the scenes with Keaton. The rest of the cast isn't given too much time to standout, but they are fine in their roles. The train collapsing off the bridge is a wonderful way to end the movie, along with the last scene with the two leads, which goes off without much of a hitch (narrative wise anyway). Though the movie was later recognized for its brilliance in later years, it was not a success at the box office, in part due to the budget ($750,000, which was big for the time). Keaton soon had his creative freedom taken away from him for future films (with his deal to join MGM in 1928 being described by him as the worst business decision he ever made), but The General manages to live on as one of his great pieces of work in film due to how adventurous and ambitious it goes, with enough spectacle and charm for everyone.

Overall, I give it 10 out of 10 stars.

Three Ages.

Review #877: Three Ages.

Cast:
Buster Keaton (The Boy), Margaret Leahy (The Girl), Wallace Beery (The Villain), Lillian Lawrence (The Girl's Mother), Joe Roberts (The Girl's Father), and Kewpie Morgan (The Emperor / Cave Man / Roman Thug) Directed by Buster Keaton (#757 - Seven Chances, #762 - College, and #805 - The Navigator) and Edward F. Cline.

Review:
This was the second starring role for Keaton, made three years after The Saphead and his first feature that he directed. The film was structured and shot as three separate shorts, as a form of insurance in case it did not work well as a feature, with the three films representing a different Age, from the Stone Age to Rome to the modern-day. The main prevailing theme in all three parts is the prevalence of love in society all-throughout time, with Keaton getting the girl in each story. In that regard, it is somewhat interesting (if not slightly repetitive), though the end result is a film that is moderately entertaining, but not really all that funny. In other words, you'll get some chuckles, but nothing is really that memorable (although Keaton escaping a prison due to his phone booth being towed out of the prison). Neither period really stands out entirely from the others, but they are fine for the course. Leahy is a decent lead, and Beery is a fair enough villain. It has good moments, but nothing that you could really say is rip-roaring hilarious, though Keaton is good as it gets. In a sea of Keaton films, this likely wouldn't be one I would recommend immediately, but it is adequate enough to see at least once.

Overall, I give it 7 out of 10 stars.

The Saphead.

Review #865: The Saphead.

Cast:
Buster Keaton (Bertie "The Lamb" Van Alstyne), Beulah Booker (Agnes Gates), Edward Connelly (Musgrave), Edward Jobson (Rev. Murray Hilton), Edward Alexander (Watson Flint), Odette Taylor (Mrs. Cornelia Opdyke), Carol Holloway (Rose Turner), Irving Cummings (Mark Turner), Jack Livingston (Dr. George Wainright), and William H. Crane (Nicholas Van Alstyne) Directed by Herbert Blaché and Winchell Smith.

Review:
This was Keaton's first starring role in a feature film, as he was recommended for this movie by Douglas Fairbanks, with this propelling him to stardom. This was not written by Keaton unlike some of his later films, but there is at least a decent enough story, albeit with a weight of melodrama that nearly crushes it. It takes a while for the plot to get to Keaton, in part due to having to set up the plot lines that will soon converge into such a strange mish-mash, with secret affairs, staying out to late to impress a girl (who is also your adopted sister), stock broking, and a last act that manages to show a bit of what made Keaton so interesting to watch. One of my favorite parts is him trying to keep his balance (of sorts) while at the stock exchange being bullied a bit by the other brokers, keeping his composure neatly enough. The movie is only really interesting when Keaton is around, showcasing his famed stoic expression and his grace that would make him a star. The rest of the cast isn't bad, being serviceable for this kind of silent film. The film takes a while to dig itself out of being a drama, but it is decently paced at 77 minutes. For 1920, it is a relatively decent movie, and it is fine to suggest this film for someone wanting to start getting into Buster Keaton films.

Overall, I give it 7 out of 10 stars.

The Navigator.

Review #805: The Navigator.

Cast
Buster Keaton (Rollo Treadway), Kathryn McGuire (Betsy O'Brien), Frederick Vroom (John O'Brien), Clarence Burton (Spy), and H.N. Clugston (Spy) Directed by Buster Keaton (#757 - Seven Chances and #762 - College) and Donald Crisp.

Review
It's fun to cover another Keaton movie because it is always nice to see the deadpan humor alongside stunt work by Keaton himself, complete with sight gags and a reasonable amount of pacing. The Navigator doesn't have many cast members, but the dynamic between Keaton and McGuire works just fine. It's entertaining seeing the two of them try to run a ship without servants nor anyone else to help; at one point they even fly the flag signaling quarantine, while trying to lower a boat to the water. Speaking of which, the aquatic scenes are well done, with Keaton being a master even under a heavy suit. The ship itself is a good setting, and it is used well, with several gags (such as when they try to make food) utilizing the ship to good capacity. It's interesting how the movie seemingly feels relevant today; sure, people don't go on ships as much as they used to, but there is a certain feeling of watching people try to use technology (of any kind) and either dealing with it or taking time to find ways to use it right. The movie moves at a fine pace, not languishing while on the ship; at 59 minutes, it is a treat for anyone.

Overall, I give it 8 out of 10 stars.

College.

Review #762: College.

Cast
Buster Keaton (Ronald), Anne Cornwall (Mary Haynes), Harold Goodwin (Jeff), Flora Bramley (Mary's friend), Snitz Edwards (Dean Edwards), Carl Harbaugh (Crew Coach), Sam Crawford (Baseball Coach), and Florence Turner (Ronald's mother) Directed by Buster Keaton (#757) and James W. Horne.

Review
Oh the joys of reviewing a movie named College. It is only fitting that I review this movie two days before the second (and last) Final Class Exam that culminates the end of my first semester at my college. To be honest, my first thoughts were that this sounded a good deal like The Freshman (#667), with regards to the premise of a new college student trying to impress someone at a college despite being picked being on, with one of their ideas being to play sports. But I realized that this isn't exactly a tired trope because it still technically works today. The debate of focus of academia vs athletics evidently was even a hot topic in 1927 as it is now. But the movie isn't a discussion of that, it's Buster Keaton being involved in slapstick, with some fun title cards (such as Keaton's academic character talking about athletes such as "Ty Ruth" and "Babe Dempsey") and some highlights such as Keaton trying to play baseball (try being emphasized here) and track and field (My favorite part: Keaton not only misses jumping over a hurdle, he breaks it in half with his face) but also some drama as well. The actors certainly fit their parts well (with Snitz Edwards, who had been in Seven Chances fitting nicely as the beleaguered Dean), fitting the story just fine. One scene that doesn't really age well is the scene where he puts on black-face makeup in order to work at a diner. It doesn't last long (maybe about 3-4 minutes), but it's still strange that he even put it on in the first place. Racist? That's up to you to decide, along with noting the time this was made as well. Despite this, the movie holds up pretty well, and the heart of the movie makes for a relatively fine movie.

Overall, I give it 8 out of 10 stars.

Seven Chances.

Review #757: Seven Chances.

Cast
Buster Keaton (Jimmy Shannon), T. Roy Barnes (Billy Meekin, His Partner), Snitz Edwards (His Lawyer), Ruth Dwyer (Mary Jones, His Girl), Frances Raymond (Her Mother), Erwin Connelly (The Clergyman), and Jules Cowles (The Hired Hand) Directed by Buster Keaton.

Review
Ah, Buster Keaton. I knew that I would eventually get to one of his feature films sometime on this show, and what better time than now, before this year (the 120th anniversary year of his birth) ended? You might be wondering why this film, and not his first film, The Saphead? As the old saying (read: not really) goes, sometimes you don't need a particular reason. One good thing about Keaton is that you can find a good portion of his films on the web (if you look hard enough, anyway), which is a relief. But aside from that, Keaton is certainly the most definable thing in this movie, because of his screen presence. He is an interesting person to watch, especially near the end during the chase. One of my favorite parts is him climbing a tall tree...that is then chopped down. Speaking of which, the end sequence of being chased by would-be brides is especially amusing, particularly at how absurd it can get, to the point where Keaton is not only chased by a bunch of women, but by a group of rocks. The rock sequence was a pure accident of Keaton accidentally dislodging a rock, which made two other rocks tumble that was turned into a full on tumbling of (paper-mache and chicken wire) rocks going after him and the women that is so fun to watch. Seeing people getting knocked over by rocks is funny especially when you don't really see their pained reactions. There really isn't much story (Keaton must get married by 7pm on his 27th birthday to receive 7 million dollars), but the movie doesn't really drag too much, which makes the 56 minute run time worth it. The cast is entertaining enough, but the movie really is all about Buster Keaton and his acting-directing talent. It's no wonder why he is called the "The Great Stone Face", but it's also no wonder why he is still being watched to this very day.

Overall, I give it 8 out of 10 stars.

Movie Night: A Funny Thing Happened on the Way to the Forum.

Review #594: A Funny Thing Happened on the Way to the Forum.

Cast
Zero Mostel (Pseudolus), Phil Silvers (Marcus Lycus), Michael Crawford (Hero), Jack Gilford (Hysterium), Annette Andre (Philia), Buster Keaton (Erronius), Michael Hordern (Senex), Leon Greene (Miles Gloriosus), Patricia Jessel (Domina), and Inga Neilsen (Gymnasia) Directed by Richard Lester (#541 - A Hard Day's Night)

Review
The movie begins and ends on the same song, "Comedy Tonight", which sums up the movie. The cast is exceptional, especially Zero Mostel, who is just as wacky and fun as he was in The Producers. The movie may be a comedy, but it's also a musical, and while the comedy dominates most of the time, the songs aren't that bad, and Mostel is a decent enough singer for these songs. I realize that I haven't covered Buster Keaton on this show before, but at least I finally get to say something about him (ironically in his last film role), and what I would say is that he is certainly noteworthy despite not having too much screen time, he delivers a chuckle or two. The movie has a good deal of fun lines and zany motion that makes a wild but fun film.

Overall, I give it 9 out of 10 stars.