Hardly a neglected artist, Buster Keaton attracts biographers and film scholars capable of incisive comment on his work. He continues to draw the serious attention of both popular writers and scholars because as a comic genius and major comedy filmmaker during the silent age he rivals Charlie Chaplin. Yet writers have focused on the full-length films from 1923 to 1928, when Keaton joined MGM, lost his creative freedom, and began a glide toward oblivion that lasted until his rediscovery in the late 1950s. Filling a major gap in the critical canon, Gabriella Oldham’s study of Keaton’s nineteen silent short films shot between 1920 and 1923 chronicles the rapid growth in the filmmaker’s understanding of what makes both comedy and film successful.
Keaton developed his major themes in these nineteen short films: his persona “Buster” vs. Rival, Nature, Machine, Self, and Fate; his resilient pursuit of love and the efforts he makes to overcome any curves thrown by Fate; and his trademark “stone face” blocking any display of the passionate emotion he feels about everything he does. These short films clearly indicate Keaton’s love of the camera and his concern for composition, symmetry, and images that delight the eye and startle the mind.
Oldham reconstructs each of these rarely seen films in such a way as to enable the reader to “watch” Keaton’s performance, devoting a separate chapter to each. She analyzes each film’s strengths, weaknesses, and prevalent themes and threads. She also enables readers to plumb the depths of what seems to be surface comedy through philosophical, biographical, historical, and critical commentary, thus linking the shorts together into a cohesive study of Buster Keaton’s growth through his three-year independent venture as a filmmaker. Beyond the laughter and beyond the great stone face, Oldham presents a treasure of cinema comedy and a unique philosophy of life as captured by the mature eye of a great filmmaker.
Film analysis at its best. Between 1920 and 1923 Buster Keaton wrote, directed, and starred in nineteen independent short films which are some of the funniest ever made. In this scholarly yet readable analysis, Oldham, an unabashed fan of the “great stone face”, devotes a chapter to each of these classic shorts, closely describing each scene with attention to visual composition, symmetry, repetition, and other cinematic techniques, as well as the critical element of the extraordinary funnyman himself. We can be thankful that Oldham not only avoids killing the subject in the process of dissection, an all-too- common fault in film criticism, but actually adds a richness of understanding to the Keaton legacy. In her words, “Beyond the comedy is film, lovingly and dexterously crafted in its comic visions. Within these visions are starkly familiar themes and paradoxes. We begin to realize that Buster – exaggerated or simple, funny or serious – resembles each one of us…”
Overdone and Dry. A long, over-written unfunny book about some very funny films. See Keaton’s movies instead.