Buster Keaton in Sherlock Jnr
To celebrate TCM’s month-long screening of Buster Keaton films every Sunday in October, I’ll be following along from the UK through the week with the aid of various DVDs, Twitter and this blog.
This second Holyrood or Bust(er) post will cover many of the films being screened on TCM on Sunday 9 October 2011, all grouped under the banner of An Artist at Work: Sherlock, Jr, Good Night Nurse, Steamboat Bill, Jr, The Cameraman, Coney Island, Back Stage, Limelight, The Bell Boy, She Went to the Races, The Haunted House and Hard Luck.
Sherlock, Jr (1924), Good Night Nurse (1918) and Steamboat Bill, Jr (1928)
Week two of this Buster-a-thon has started slightly later than planned but Sherlock, Jr isn’t a bad place to do so.
A recurring idea in Buster’s films is the dream sequence, something which allowed him to come up with even more outlandish ideas than his films set in “reality” would allow.
Here, Buster is a cinema projectionist who wants to be a great detective, but who is destined to pine after Kathryn McGuire while Ward Crane’s nasty piece of work con man tries to get her first. The opening minutes, as Buster goes about his duties at the cinema, may be more leisurely compared to what comes later, but anyone who manages to get that much humour out of sweeping some trash clearly knows what he’s doing.
The major dream sequence of the film, which sees Buster enter the cinema screen to interact with the locations being screened, is one of the most impressive moments in any of his films, and with Buster Keaton that’s saying something.
As ever, he’s not content to go for the simple gag, instead lining up each scene change seamlessly so that the joke is flawless. We’re an audience who are watching an audience watch Buster and it’s hard to imagine quite how audiences in 1924 would have reacted to something so unique.
But that’s Buster all over, always trying something new and experimenting with the medium he’s working in, while other performers were happy to work within the constraints.
That’s certainly the case with 1918’s Good Night Nurse, a Roscoe ‘Fatty’ Arbuckle picture featuring Buster in a supporting role.
The pair were good friends and it shows here, Buster seemingly having a good time – he even smiles a few times! – and going with the flow as Fatty indulges in the bizarre routines that made him so popular. Fatty’s tendency towards cross-dressing mixed with a man-child type persona make him an acquired taste today, though Good Night Nurse is by no means a bad film. It just isn’t a proper Keaton film, which is the real problem.
We’re back on track for 1928’s Steamboat Bill, Jr, a wonderful slice of Buster which casts him as the estranged son of an old sailor who comes to work with his dad, only for the latter to worry that his boy is too soft to do anything much.
I love watching this film, particularly the sequence in the jailhouse, when Buster arrives with a loaf of bread that has clearly fallen into the tool chest…ahem. The entire 10 minutes is a joy and it could have been a film in itself, Buster’s expressions and hand movements as he tries to convince his father to take the bread. Bliss.
The infamous stunt involving a house falling on Buster can be found here (he’d done it before, but never on this scale), and it still shocks 80 years on. Considered to be one of Buster’s last great films, it’s a joy from start to finish (a phrase I may have used before in these blog posts, but there are only so many ways to describe the man’s work).
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