Kompletely Keaton thus far

A short recap for those who missed it or are wondering what to expect for the rest of the series

Fri. Sept. 28:
The short, Cops, was terrific. Every time I see it I appreciate the horse's performance more.
The full length print of Three Ages, a light spoof on Griffith's Intolerance, isn't the funniest film, but some of the gags are terrific. The scene with the lion in ancient Rome took the cake for me. The music by The Steve Schenkel & Paul DeMarinis Trio was very good; jazzy with different motifs for each of the Three Ages. A good start.

Sat. Sept. 29:
The short, The High Sign, ends with an endlessly inventive chase involving a secret society hit squad which is after a man who Buster must both kill and protect. The use of the trap doors and visual illusions in the large set piece embody and embellish the creativity that sets Keaton's shorts apart from all others.
The full length, Our Hospitality, opens with a surprisingly dramatic scene that utilizes light and shadows so deftly that Fritz Lang would be proud. The train gag in the first third goes on too long, especially for those familiar with The General, in which Keaton perfects the more rudimentary gags seen here. The stunts in the climax over the waterfall are terrifying, leading one to wonder how much Keaton was insured for at the time. It is perhaps the most mesmerizing stunt work I've ever seen, if only because it can't be entirely faked. Accompaniment by Elsie Parker and the Poor People of Paris was probably better suited to another film. The music was wonderful, but did little to enhance the film itself as old Parisian standards do not always lend themselves to underscoring a story about a family feud set in the old south.

Sun. Sept. 30:
The short was the highlight of the night. Sherlock Jr. is Buster Keaton at absolute perfection. The audience was howling. The print looked great and the motorcycle ride near the end of the film is one of cinema's great action sequences. The Mont Alto Orchestra played for this film and it couldn't have been better. They accompany silent films with music that would have been played at the time. So far in the series this has been the musical highlight, not necessarily in uniqueness or style, but in sheer cohesion with the film that is playing. It only enhances the film, sometimes greatly, and never distracts.
The full length, The Saphead, was historically interesting as Keaton's first starring full-length. But it isn't really a Keaton film, and it is little more than a very pleasant silent film of the era. One would be remiss to ignore the "I'll take it" scene as a precursor of Keaton's physicality. This was shown from a video source and paled in comparison to the quality of Sherlock Jr.

Thurs. Oct. 4 (Keaton's birthday):
The Goat may have had the best audience reaction so far. It is a funny short from start to finish with an almost non-stop chase sequence.
Battling Butler, is a good film with a great premise. Keaton is good and goofy, but often finds himself in binds that do not require much physical comedy or environmental gags. The pairing of these two films is important in understanding the difference between the two types of Keaton film: the short and the full length. Watching a full length and expecting a 70 minute short is going to be a bit of a letdown. I don't want to snark any of the talented musicians who've dedicated much time to such a great series, but Webster professor Carol Schmidt's dischordant jazz accompaniment might have hurt the film a bit. Great music to be sure, but I find myself a bit of a traditionalist when it comes to silent music scores. I want the music to have contextual relevance to what I'm seeing, not just to augment the narrative, but to keep the era of filmmaking in context as well. Some jazz does that nicely, but last night's may have been a bit too fractured.

Up this weekend: The Navigator with Daydreams, Go West with The Paleface, and Seven Chances with Neighbors.