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carbonelThese were a double feature in the DVD, so they might as well go in the same post.
Our Hospitality
Director: Buster Keaton and John G. Blystone
1923
This is a silent movie starring Buster Keaton. Which means there's lots of physical comedy (though not necessarily fight scenes), and a romantic subplot. In this case, it's the story of a young man whose mother moved away from a long-running family feud, but who is drawn back in when he receives a letter telling him to claim his inheritance. It turns out that the inheritance is apparently a worthless shack, but in the meantime he falls in love with a girl on the wrong side. The members of her family want to kill him, but the rules of hospitality say they can't do so while he's still in their house. Eventually he leaves, and there's a scene where it appears the girl is going to save his life. (Yay -- female agency!) But this is the 1920s, so she gets herself in trouble and has to be rescued. It all ends happily, with lives saved all around.
Sherlock Jr.
Director: Buster Keaton and Fatty Arbuckle (uncredited)
1924
This movie contains an early example of a film within a film. It's the story of a projectionist/janitor with a Mitty-esque fantasy life, except that he fancies himself as the Great Detective. Through a series of coincidences of the sort that only occur in movies, he ends up solving a real-life crime and (of course) getting the girl.
In both of these, Buster Keaton is what makes the watching worthwhile. He did his own stunts which were beautifully choreographed, and the timing of the acting is impeccable. About the plots, the less said, the better.
Our Hospitality
Director: Buster Keaton and John G. Blystone
1923
This is a silent movie starring Buster Keaton. Which means there's lots of physical comedy (though not necessarily fight scenes), and a romantic subplot. In this case, it's the story of a young man whose mother moved away from a long-running family feud, but who is drawn back in when he receives a letter telling him to claim his inheritance. It turns out that the inheritance is apparently a worthless shack, but in the meantime he falls in love with a girl on the wrong side. The members of her family want to kill him, but the rules of hospitality say they can't do so while he's still in their house. Eventually he leaves, and there's a scene where it appears the girl is going to save his life. (Yay -- female agency!) But this is the 1920s, so she gets herself in trouble and has to be rescued. It all ends happily, with lives saved all around.
Sherlock Jr.
Director: Buster Keaton and Fatty Arbuckle (uncredited)
1924
This movie contains an early example of a film within a film. It's the story of a projectionist/janitor with a Mitty-esque fantasy life, except that he fancies himself as the Great Detective. Through a series of coincidences of the sort that only occur in movies, he ends up solving a real-life crime and (of course) getting the girl.
In both of these, Buster Keaton is what makes the watching worthwhile. He did his own stunts which were beautifully choreographed, and the timing of the acting is impeccable. About the plots, the less said, the better.
