Movie Title:The Art of Buster Keaton

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I had only seen a handful of Buster Keaton’s films before deciding to assume the topple and steal the colossal “Art Of Buster Keaton” DVD box space. I’m pleased I threw the dice and ordered this. Here is calm filmmaking at its finest, with titanic attention to detail given to both short and feature films. The films are genuine and, although some of them are showing their age, I quiz these are the best prints possible. You can’t ask for anything more.

This is a mammoth collection of films (11 features and 19 shorts), so reviewing individual items is not going to be beneficiary. These discs have also been released individually, and I’ve already written many words on each of them. But in general terms, I did get that I preferred his short films to his longer works. The feature films don’t quite have the frantic scurry to them that made the shorter films so memorable and exquisite. Of course, comparisons to his short movies a slight unfair, as those shorts are rightly praised as some of the funniest sequences ever filmed. But there are some amazing moments in his features as well as some strong movies.

But those shorts. Wow. Here are some of the most memorable movie scenes I have ever viewed. Once seen, who can forget the literally hundreds of aroused police officers chasing Keaton in COPS, or the prisoner bungee jumping from the demolish of a noose in CONVICT 13, or the DIY house being demolished by a inform in ONE WEEK? These films are fast-paced, surreal, bizarre and hilarious. I loved them to pieces.

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Prop comedy is something that is now horrifyingly associated with such painfully annoying clowns as Carrot Top (Lord abet us) . But in the slapstick era, this was something that was not only humorous, it could be downright diabolical. I can only imagine how long it must have taken to design the trap doors and deceptive walls and other goodies that cropped up again and again. Clever, inventive and strangely sophisticated, these physical implements, when combined with Keaton’s formidable athletic abilities, produced some incredible and breathtaking scenes.

One of the things I would wonder to myself was not simply “How on Earth did Keaton do that stunt? “, but “How on Earth did Keaton survive that stunt? ” His accomplishments are made all the more impressive given that he was performing all of these aerobatics himself with cramped in the method of trick photography (decades later, Jackie Chan would work in worthy the same method to similar acclaim) .

The major bonus in this location is the final DVD, KEATON PLUS, which contains all sorts of rarities and extras. While the films here present Keaton in the 1920s, these extras focus on Keaton later in his career. It’s somewhat black to look the substantial man reduced to doing cheesy commercials, but he’s always at least watchable. A few short excerpts from his 1950s TV series are included, and while it’s fun to contemplate that he could quiet rob a pratfall thirty years on, I suspect that the thrust gradual his return was the opportunity to form out with the incredibly big and fair model who appeared in virtually every clip. Lucky frail Buster; though after being teamed up with Jimmy Durante, that’s the least that karma owed him.

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I noticed that some reviewers have had negative things to say about the musical selections ancient as the soundtrack to these calm pictures. My experience was quite different, as overall I enjoyed the music and was only occasionally annoyed by it. On the other hand, you may wish to choose what I say with a grain of salt, as I belief the James Bond musical riff in SHERLOCK, JR. was absolutely amazing.

This was a sizable consume, and during the perusal of this station, I felt I was not only seeing some sizable filmmaking, but a proper splice of cinema history. It’s really a shame that Keaton’s career went down the tubes after the 1920s, as I felt his features were gradually improving as he gained more experience. His shorts (from the early section of the decade) were uniformly beneficial, but I got the impression that he was gaining more useful experience in feature-length movies and developing as filmmaker. It may be a bit depressing to know what happened after signing to MGM, but at least here we can luxuriate in the excellent times while they lasted. And they certainly were favorable times and broad films.

Before anything else, I agree with those who say that Keaton’s shorts are all good; but I strongly disagree with those who say that they are better than his better features. What usually happens with comedy is that people sit down before the cover and fair say: OK, earn me laugh. Keaton’s features are comical -but they are also, and more considerable, beautifully shot, superbly acted and perfectly structured -which is something only the best actors/directors can effect all together. There are no cheap sets like in most movies of the 20′s. Keaton’s characters go in the valid world, with valid things, and that’s piece of what makes them lasting and modern.

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In your shelves, Keaton shouldn’t section his set with the Marx Brothers, but with Orson Welles (who called The General the best movie ever made about the Civil War) and Martin Scorsese (who said he watched over and over the final fight in Battling Butter -which, by the map, is not supposed to acquire you laugh, but to surprise you with it’s realism)

Now, this are the complete contents of this DVD place. Aside from it, you should check out The Buster Keaton Collection, which includes THE CAMERAMAN, SPITE MARRIAGE and FREE AND EASY – and then you are done. Well, you could also read the only book he wrote -My Fantastic World of Slapstick. (June ’06 Update: “Industrial Strength Keaton”(DVD) unprejudiced came out. The station includes rare industrial films, promotional films, commercials, TV appearances and outtakes.)

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The Saphead: 1920

Includes the shorts ONE WEEK (1920) and THE HIGH Mark (1920)

The Three Ages

Year: 1923

Including THE GOAT (1921) and MY WIFE’S RELATION (1922) .

Our Hospitality / Sherlock, Jr.

Year: 1923/1924

The Navigator

Year: 1924

Includes shorts The Boat (1921) and The Like Nest (1923) .

Go West

Year: 1925

Includes THE SCARECROW (1920) and THE PALEFACE (1921) .

Seven Chances

Year: 1925

Shorts: Neighbors (1920) & The Balloonatic (1923)

Battling Butler

Year: 1926

Includes THE Jumpy HOUSE (1921) and FROZEN NORTH (1922) .

The General

Year: 1926

shorts: The Playhouse (1921) and Cops (1922)

College

Year: 1927

Includes THE ELECTRIC HOUSE (1922), HARD LUCK (in this version the ending is missing; but the complete version is found in the disc called Keaton Plus) (1921) and THE BLACKSMITH (1922) .

Steamboat Bill, Jr.

Year: 1928

shorts: Convict 13 (1920) and Daydreams (1922)

Keaton Plus

Year: 1920-2001

Color home movies, complete short HARD LUCK, two Shorts from the 30′s, commercials, TV shows and appearances. But best of all, Orson Welles talking about Keaton and The General.
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