short for scapegoat) navigates his way through a maze of mistaken identity, cops in pursuit and of course, love. Keaton plays the nameless main character down on his luck and through a series of Keaton-esque plot twists, ends up being wrongly considered the murderer “Dead Shot Dan”. This delightful, often overlooked short of Keaton’s, sums up his “Early Period” where his films follow the plot of conflict and chase that ends happily. Two high points: the falling-wall-only-to-be-saved-by-a-window gag that Buster will take to it’s heart stopping point in a later film and his balletic grace as he stumbles through the windswept house. The rest of the film is Buster trying to get the darned thing built, decide some troubles, sabotage and the house itself, seemingly possessed and ultimately turns on them both … literally. The plot flows effortlessly from a young married couples’ joyous march out of the church, the receipt of a (seemingly) wonderful gift of a brand new house to the disappointing reality that they (well, Buster really) have to actually build it. It is so solid in every way from plot, to gags, to Buster’s on screen persona with nary a “rookie mistake.” During his partnership with Arbuckle, Buster (as he would later say) learned everything he knew about films from Arbuckle, and was obviously an apt pupil. Buster was right, One Week was one heck of a film to use a debut. He had, however, made The High Sign a few months before, but deemed it not strong enough for his solo debut. Generally considered Buster’s first solo film short, and in a way, yes, it was the first one to be released. In 1920, Buster would inherit Arbuckle’s controlling interest in his company Comique, while Arbuckle left to do full-length features at Paramount. This was made just after Buster had returned from duty in World War I (where he suffered permanent hearing loss in one ear and being in the very epicenter of the worst Influenza epidemic ever) and was one of the last Keaton and Arbuckle would do. When practically the whole show walks out, Buster, Arbuckle and a few allies put on the show and this plot point thus allows Buster to showcase his amazing mimicry and athleticism. Buster and Arbuckle play two stagehands in a theater that is racked with labor troubles, touchy divas, and otherwise eccentric fellows. The story, like many a silent film short, is almost non-existent and really not that important. As Arbuckle’s recognition and trust of talents grow, his roles will increase exponentially.Īlmost immediately, we can see the shift in Buster’s on screen relationship with Arbuckle they are now a team. Still, it is Buster’s film debut and it’s always interesting to see how someone who would be so famous started. The movie is an Arbuckle one, through and through and Buster is just one of the supporting players. In The Butcher Boy, we see Buster, 21 years old and straight out of Vaudeville, where he had spent almost his entire life, using the skills and gags he used with the act he had with his father Joe Keaton. Almost immediately, he was making films with Arbuckle and began not only a professional partnership, but a lasting friendship. On a blustery day in March 1917, Buster Keaton was introduced to Rosoce “Fatty” Arbuckle, at that time only second to Chaplin in his popularity. So, grab a few of Buster’s films, sit back and enjoy one of Cinema’s greatest, and influential Directors. Most of all, Keaton loved film and all it’s possibilities and he loved to play and experiment with what it could do. His gags have an elegant, organic logical quality that are coupled with Keaton’s amazing athleticism. Instead he plays the smartest guy in the room,which he doesn’t flaunt and which no one seems to realize … and Keaton often uses that to his advantage. While Lloyd exuded confidence and Chaplin sentiment, Keaton has neither. His character is very Modern: quiet, steadfast,full of self deprecating humor. Unlike most of his contemporaries, Keaton strips his films down to the bare minimum, no unnecessary subplots, his films zoom along in a way that today’s audiences appreciate. Of Silent Films’ “Big Three” ( Chaplin, Keaton, Lloyd) Buster Keaton is more famous and critically acclaimed today, than he was in the 1920’s (the guy is Box Office Gold, believe me, I’ve seen it!) and the reason is simple: his films still seem awfully relevant and modern, maybe even more so than when they were first shown.
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