The Sunday Intertitle: The Four Keatons

Posted in FILM, Theatre with tags , , , , , , , on May 1, 2016 by dcairns

 

Keatons - all four in wigs

I’m very glad I own the Kino box set LOST KEATON, even though the shorts Buster made for Educational in the 30s are only intermittently funny. Since Keaton had a measure of control over the stories and gags, you get to see both his potential as a talking comedian, and the problems he was up against.

Keaton’s rasping crow voice is always surprising when you hear it, but it works well with his persona. Meanwhile, his drink problem, and the passage of time, had begun to ravage his ethereal beauty, which was never essential to his comedy but served as an astonishing added benefit to it, as if God were showing us unaccustomed generosity.

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The sole intertitle in PALOOKA FROM PADUCAH

The low budgets of these shorts — and the somewhat poor condition they have survived in, partly explain why they’re not as funny as classic Keaton. The best you can say about their hissing soundtracks and cheap, cramped sets is that they’re better than some Hollywood B-product, and they sometimes remind one of the weird affect of W.C. Fields’ dreamlike THE FATAL GLASS OF BEER, perhaps the most Lynchian film made before Lynch’s birth (apart from those of Charley Bowers).

The other thing Keaton is up against is not sound itself, but the fact that undercranking is out of style. Henceforth it would only be used in extreme, caricatured form, but the slight lift it gave to the great clowns is gone — running, jumping and falling down now take a little longer, and are visibly effortful (Keaton himself may be slightly less fit but I don’t think that’s the problem). The accompanying grunts, exhalations, scuffs and thumps add an anchoring heaviness to the business, tieing the angels of silent cinema to the earth.

I would suggest that the Educational shorts might be best enjoyed by someone who had never seen Keaton — there are a few laughs, and there would be no sense of disappointment and anticlimax that comes from watching a gag from a great silent played less effectively with audio. But I myself first saw Keaton in one of these talkies, at a kids’ party where there was a film show — actual film, with a projector, because there was no home video. They showed LOVE NEST ON WHEELS.

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I still find this a deeply distressing image

This is one of the best Educationals, though the hayseed comedy could be seen as dated and offensive (Keaton never shied away from stereotypes, including those about his own people, the Irish-Americans). But as a kid, I was alienated from it to the point of being driven from the room. The plot had something to do with a mortgage, which immediately baffled me. The gags were lumbering and painful. Keaton liked roughhouse comedy — hell, he was raised on it and in it — and whenever someone gets his head stuck in a Keaton movie, some helpful soul will try to wrench it off. Here, the mortgage man gets his neck stuck in an elevator, and Buster tries to crowbar it out with a plank. Hideous close-up accompany the creaking wood sound effects and screams of pain to make the thing far too vicious for the sensitive child I was. And the people were strange and awful-looking — I have no memory of Keaton making an impression, but his mother and sister made me feel sad and frightened, just looking at them.

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Myra & Buster

But it is in these figure that much of the movie’s appeal lies. Buster is here accompanied by Myra, his mom, one of the original Three Keatons stage act, and Louise, his sister, as well as Harry “Jingles” Keaton, who was part of the act when it briefly became The Four Keatons. They can all act. Harry and Louise do some slapstick, and it’s interesting seeing a woman throw herself around so bruisingly. Not funny, so much, but interesting.

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Harry “Jingles” Keaton, left, and Buster, right

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Louise Keaton, relaxing between takes

PALOOKA FROM PADUCAH is another hayseed comedy, and this one has Buster’s dad, Joe, as well as Myra and Louise, so it’s the only film to star The Three Keatons. There’s plenty of rough stuff in this one too (it’s about wrestling, and Shadowplay favourite Bull Montana is the heavy), and Buster and Joe wear “Irish” beards as they did in the old days. The effect on Buster is disfiguring, but not as eerie as it was when he was, like, eight years old.

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Joe Keaton & Joseph Jnr. (Buster)

Look out for a big Buster Keaton project from me in the coming months!

Non-Fiction Film Thing

Posted in FILM with tags , , , on April 30, 2016 by dcairns

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Masters of Cinema’s stunning new Dziga Vertov set, photographed on the rich brown leather background of my couch. If you rush out and buy this, you get not only MAN WITH A MOVIE CAMERA, but all of Vertov’s other major works, providing not only valuable context, but a bunch of brilliant films some of which it might even be possible to prefer to the more celebrated title.

You also get a video essay written and sort-of-directed by me (Vertov deserves credit for all the shooting!) and edited by Timo Langer, entitled NON-FICTION FILM THING (Vertov’s subtitle description for his KINO EYE newsreel/essay works).

I urge you to acquire!

Property is theft: it makes you feel clever.

Use the link below when purchasing in order to benefit Shadowplay by a few sticky pennies:

Man with a Movie Camera (and other works by Dziga Vertov) (1929) [Masters of Cinema] Limited Edition 4-Disc Dual Format (Blu-ray & DVD)

Lensers

Posted in FILM with tags , , on April 29, 2016 by dcairns

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A typically smart and soulful video essay from Scout Tafoya here about the role of the cinematographer and the results of a poll about the best-photographed movies of all time — and scroll down and you also get a bunch of words by me about my own favourite feats of cinematography.

Crowding round are fellow contributors Justine Smith, Dan Sallitt, Carrie Rickey, David Ehrenstein, Jaime N. Christley and many many more.

C/o Fandor.

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