By James L. Neibaur
The autumn of Buster Keaton assesses Keaton's paintings in the course of the speaking photograph period, particularly these made at Mgm, academic, and Columbia studios. whereas giving a few awareness to the early a part of Keaton's profession, Neibaur focuses totally on Keaton's agreement paintings with the 3 studios, in addition to his next paintings as a gagman, aiding participant, and tv pitchman. The ebook additionally recounts the resurgence of curiosity in Keaton's silent paintings, which ended in an entire life fulfillment Oscar and around the world reputation ahead of his loss of life in 1966.
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Extra resources for The Fall of Buster Keaton: His Films for MGM, Educational Pictures, and Columbia
Exhibitor H. E. Hoag stated in 1930: “A silent comedy is very flat now. ” The bigger studios hastily transformed recently shot silent features into talkies by dubbing in voices and sound effects. The smaller studios did not have the funds to accomplish this, and thus their silents of late 1929 and early 1930 received very scant distribution, save for small-town theaters that were not yet equipped for sound. In The Hollywood Revue of 1929, Keaton re-creates the Princess Rajah dance that he had performed for the troops during his stint in World War I and then used in the silent short Back Stage (Roscoe Arbuckle, 1918).
Elmer: My sister, she lives right around the corner. The first good bit of physical comedy occurs during an examination sequence. Elmer, still not realizing he is not, in fact, there to hire a chauffeur, cannot understand why he is being ordered to remove his clothing. This results in a bit of a melee that is amusing but ends too quickly. As the two medics attempt to wrestle Elmer’s clothes off, a great deal of tumbling results that is 38 Chapter 2 A smitten Buster offers flowers in Doughboys. funny enough and does indeed recall the silent-era Keaton.
Where Doughboys mixed dialogue humor with physical comedy, Parlor, Bedroom and Bath is nearly all dialogue and typical farce situations. While the spark of the scenes mentioned above is gratifying, Keaton could not be more out of place. He does his job as an actor, but the acting by the supporting cast seems so overdone that, in comparison, Keaton appears to be sleepwalking. Leggy Charlotte Greenwood is amusing enough support, especially during a scene where Keaton stands on her shoulders, one of the film’s few real highlights.
The Fall of Buster Keaton: His Films for MGM, Educational Pictures, and Columbia by James L. Neibaur