The General (Buster Keaton, 1927)

Though The General is the highest ranked comedy in Sight and Sound’s recent poll of ‘The Greatest Films of All-Time’, it is interesting to note how it failed to recoup the costly production in 1927. An expensive bridge-destruction rivalling The Bridge on the River Kwai and casting armies of Union troops and Confederate’s fighting in a raging war clearly took its toll. With the financial success of Battling Butler, Buster Keaton confidently took on a larger budget and made a comedy that, in scale, only Charlie Chaplin could rival. It was only in the 1950’s and beyond that audiences realised how perfectly placed and beautifully balanced The General is. The acclaim it has accumulated and achieved in the last sixty years is not without merit – and now is the time to see Keaton’s masterpiece.

Keaton’s plays Johnny Gray, an engineer on the Western and Atlantic Railroad. His two loves are his engine and fiancée Annabelle Lee (Marion Mack). When war breaks out, Johnny tries to enlist but is rejected as he is needed on the rail road. Unfortunately, Annabelle’s brother and father assume he has refused to enlist, prompting Annabelle to refuse his love too - until she sees him in uniform. Feeling down, Johnny returns to his train – “The General” but becomes caught up in the war effort as armies from the North plan to destroy the railroad to stop the transportation of the Southerners artillery and food. They take hold of “The General”, with Annabelle on board, and so Johnny sets off to save his locomotive (and his love) from the clutches of the enemy soldiers.

As the train route sets-up jokes travelling in one direction, we remain on board for the laughs as it returns, repeating many jokes in reverse. Tomfoolery with the use of cannons, wood and fire is regular and commonplace. Though we are watching professionals, behind the scenes directors were shot in the face (with a blank) and crew had feet trampled by the train wheel. Even Keaton was hurt by standing too close to a cannon. A vaudeville performer, Keaton knows dangerous and death-defying stunts – and his effort to capture authenticity in the civil war setting and his hilarious exploits is where The General, rightly, receives praise.

The box-office failure of The General could be due to a number of reasons. United Artists had failed to market the film effectively while in 1927 the civil war was still in the collective consciousness of Americans. For some, it was too soon for comedy based on such a tragic time. Re-released at the BFI and screened digitally in glorious 4k, you can see the precise detail Keaton went to, to ensure The General stood the test of time. Cannons were based on actual civil war weaponry and he included what is rumoured to be the most expensive single shot of the silent era (rumoured to have cost $42,000). This shot, filmed on 26^th July 1926, is an actual locomotive, on an actual bridge in Oregon, and Keaton destroys both.

Written, directed and starring Buster Keaton, The General is outstanding filmmaking. The story suits the full-feature context and there is no sense that this is four 20-minute shorts squeezed together. The comedy supports the story and slapstick and poker-faced dry-wit is complemented by well-placed sarcasm and shots that, in their pace and framing, are laugh-out-loud moments. Paul Merton writes how The General proved “screen immortality” after hearing the loud laughs at a screening in 1971. 40 years later, the loud laughs continue to fill the theatre, proving how this epic silent comedy remains timeless and immortal.

This post is originally written for Flickering Myth, published on 27th January 2014

Kid Auto Races At Venice (Henry Lehrman, 1914)

Over the next week, I will release three posts about some of the earliest surviving Charlie Chaplin films. This is the second of the three. To make it even better for you, the readers, is how you will be able to watch the films yourself too - as the films are so old, no one owns the copywright!

The First Tramp

This is the first time we see Chaplin in full-tramp outfit. And it is incredible. The short is, fittingly, short. As Henry Lehrman, playing himself, films the Kids at the Auto Races in Venice, we see a recognisable character continually walking into shot. The camera is 'real', the camera is not ignored as the audience themselves are often caught looking at the camera too - but it is perfect comedic timing as Chaplin walks into shot from different sides of the frame - only to be pushed back out of shot by the director.

Interestingly, we often see the camera showing another camera shooting the action. We are watching the filming of the action itself - whereby the actual director is directing. According to Wikipedia this cutting between the actual footage and third-person perspective of the same situation is to explain the joke better.

A Rough Push

Furthermore, Paul Merton explains in Silent Comedies that "Lehrman gets quite violent with Charlie, on one occasion grabbing him by the throat and pushing him forcefully down to the ground, right out of frame", going further to state that "the hostility between these two leaps off the screen". Lehrman had worked for Sennetts production company at Keystone Studios since 1912, directing Roscoe Arbuckle amongst others. But directing Charlie must have been tough for him because Charlie knew how good he was - through his success on the vaudeville stage with Fred Karno - and Charlie didn't take long before working with a different director. The next film would see Mack Sennett himself intervene on directing duties ... but this was the start of something big. Even watching it now, it remains incredibly funny as this drunkard, tramp wanders across the screen at the most inconvenient moments time and time again ...

Making a Living (Henry Lehrman, 1914)

Over the next week, I will release three posts about some of the earliest surviving Charlie Chaplin films. They are only short and, to make it even better for you the readers, is how you will be able to watch the films yourself too as the films are so old, no one owns the copywright!

Before The Tramp

This is one of the earliest surviving films of Charlie Chaplin showing us his skills but not in guise of the iconic 'Little Tramp' character. The story is difficult to grasp without reading a synopsis - I simplified it to show an out-of-work man is conning another out of his money, woman and job. On closer inspection, Chaplin is actually an out-of-work reporter, who is not only swindling people out of their money, but also stealing rival journalists camera's to make money through his newspaper.

What is important about this film is that, not only is it the first Charlie Chaplin film, but it is also a film that features The Keystone Cops. The waving of truncheons and chasing, and fighting, is a feature of these comedians but Charlie Chaplin brought more intelligence to comedy - though he was incredibly skilled at slapstick (and this film shows Chaplin ultimately doing what he is told to do) we are not seeing anything too complex or with deeper subtext. Even the next film, Kid Auto Races at Venice, we will see more intelligent comedy that I believe already is miles ahead of the Keystone Cops comedy of chasing and falling over.

The Origin of an Icon

Charlie Chaplins trademark character of 'The Tramp' does not feature here whatsoever, but we can see many characteristics that would become a part of him - the hat, the stick and the cigar. The character, dubbed Edgar English, is arrogant and smug but the tipping of his hat and clumsiness is refined and more-likabale (Edgar is anything but likeable) in the character of 'The Tramp'.

The film premiered on 2nd February 1914 and was produced by Mack Sennett, the man who established the Keystone Studios in 1912. Sennett would be the man who would establish Chaplin and the directed, Lehrman, would also direct Chaplin in his next feature film ...

Modern Times (Charlie Chaplin, 1936)

"Buck up - never say die. We'll get along"

Introduction

Charlie Chaplin, above anything, was controversial. He was an artist who, through his success, shook the tree and commented on American freedom (The Immigrant) using a character known as 'Little Tramp'. Modern Times remains iconic and unforgettable as it was the little tramps final appearance. Created in 1914, the little tramp is - and remains - the most iconic character of the silent era. So, it is worth noting that a practically silent feature-film in 1936 was not that common - in fact, Chaplin even wrote a script for the film but decided to throw it out - "famously fearing that the mystery and romanticism of the tramp character would be ruined if he spoke".

The First Shot...

... shows sheep. The shot portrays a herd of sheep squeezing through a gate before dissolving into a group of factory workers ploughing into the work place. Already, seconds in, Chaplin makes his point. Between 1931 and 1932, Chaplin was on an 18-month world-tour. He saw the poverty and problems in the western world - even commenting "Unemployment is the vital question ... Machinery should benefit mankind. It should not spell tragedy and throw [mankind] out of work.". Much like Chaplin's two-reeler's, this film is broken into multiple sections. First we see the famous factory-sequence as Chaplin attempts to work in the monotonous and repetetive environment of factory work - leading to his madness. Each sequence notes a different contradiction or conflict in society. Chaplin, in the factory, is used and abused and hurt (through the testing of a machine that 'cuts out' the lunch hour!!!) and, inevitably perhaps, goes crazy.

Strikes and Drugs

Another highly relevant issue is also raised as the economic unrest and lack of employment ultimately leads to strike action. Through the film, we see how the strikes affects the poverty-stricken area - putting people out of the job and even taking lives. These strikes not only serve as a way to split the narrative but, additionally, we see how after a strike directly affects Chaplin's employment, his unhappy and frustrated attitude even leads to his arrest. The police punch him and kick him - a real example of the abuse strike-action often recieves.

Secondly, one sequence begins with the title card "searching for smuggled 'nose-powder." and we see, in prison a convict hiding the cocaine in a salt jar - leading to an incredible sequence as Chaplin uses the cocaine on his own food. This sequence finishes as the tramp is scared of the outside world and is more comfortable in the prison. These are big themes and huge statements that Chaplin was making. Real examples of a true artist - this is not merely entertainment, this is entertainment with edge.

Intelligent Comedy

So often I find myself arguing a similar point. Why should a film be analysed and disected. Why can't people just enjoy films and leave it at that. Moreso with comedy. What makes a good comedy? memorable dialogue? slap-stick humour? Not to mention how, I believe, some comedies give the impression of a much more intelligent agenda. Monty Python and the Holy Grail is what first comes to mind, but the relentless barrage of jokes and tone of Airplane! cannot be ignored either. One thing which is clear about Modern Times is how it clearly sits in the intelligent comedy' bracket. Chaplin knows what he is doing and is maximising his opportunities for comedy whilst make a political point. Even sequences involving Paulette Goddard as the 'Gamin' have real heart and are played completely straight - despite the little tramps clumsy nature. A building falling apart provides opportunity for slapstick - whih is perfectly delivered by Chaplin. But additionally, the low-standard of housing for the two working-class citizens is a worthy point to raise. It is purposeful and defined - over-analysis is with reason. My personal laugh-out-loud moments ("lol" moment...) include a sequence as a flag falls off a truck, the tramp picks it up and calls after the truck, waving the flag, only for a strike march behind him coincidently appearing giving the impression he is leading the strike. His complete lack of awareness and innocence again makes the sequence even more hilarious.

The Tramp films often end with his lonely walk - only for him to gain a spring in his step and walk confidently away. Not this time. This is a film which ends negatively as the tramp and the gamin' escape from police who attempted to arrest her. The two sit on the edge of the road and, she cries:

Gamin: What's the use of trying?
The Tramp: Buck up - never say die. We'll get along!

The two walk off together, arm in arm, as if to note that the future is officially bright for out tramp character.

The Butcher Boy (Roscoe Arbuckle, 1917)

"Molasses, please?"

Introduction

Comedian Paul Merton has had an interest in Silent Comedies since he was a teenager. DVD sales have provided access to these shorts for everyone, giving Merton a chance to create incredible documentaries on these topics. Only recently, he directed and presented a three-episode mini-series titled The Birth of Hollywood, whereby he managed to show how cinema was first born and, more importantly, how Hollywood began to dominate the market. I was utterly transfixed to this series when it played. Merton's enthusiasm and wide-knowledge of Silent Comedies was infectious and it was only a matter of time before I hunted down the celebrated comedies he noted in his documentary and book, Silent Comedy.

Buster Keaton Arrives

Beginning in 1917 is by no means the beginning of Silent Comedy. By this point, Charlie Chaplin was a household name - his 'tramp' character firmly established through his shorts The Tramp and The Vagabond. Roscoe 'Fatty' Arbuckle was well-known, now with the power to direct and headline his own films (The Butcher Boy is one of many "Roscoe 'Fatty' Arbuckle stars in The Butcher Boy". But this film did mark the first cinematic appearance of the unforgettable Buster Keaton. This is not an example of Buster Keaton before he became the deadpan, dry face of silent comedy. This is an incredibly self-assured start, whereby Keaton is ahead of his game when he filmed his first scene - which, proudly, Keaton acted in one-take.

From the Start

Buster Keaton was brought up on the road, his family were 'The Three Keatons' and their act consisted of much slap-stick comedy - whereby Buster would often be thrown around the stage by his Father, much to the delight of the audience. It was a chance meeting with Roscoe Arbuckle in New York which ensured Buster joined the Hollywood silent-comedy heroes. The difference between the Keystone cops and Charlie Chaplin's output at the time was immense - and The Butcher Boy shows a clear difference in comedy from the different actors. Buster Keaton's first gag shows him get caught on a tub of molasses (a honey-like by-product of processing sugar-cane). He hands the tub, with the money to Roscoe and asks for some molasses - Roscoe fills the tub up, on top of the money, only realising afterwards where the money is. Roscoe pours out the molasses into Keaton's hat, which resides, up-turned on the table, finds the money and Keaton picks up the hat, pops iit on his head and it is inevitably stuck. This well-thought out joke and planning is a far cry from the relentless throwing of flour that dominates the sequence and the bed-jumping and running-around and dog-biting finale that concludes the short. The Butcher Boy shows how certain comedians became so much more important than others - random tom-foolery would get a few laughs, but well thought-out, intelligently-planned comedy would always last the test of time.

Change of Scene

The film is set primarily in the butchers - whereby many customers create chaos as Arbuckle clumsily makes mistakes and creates gags in the process. We even see some brilliant use of a shapr knife as it appears Roscoe lets the huge knife slip out of his hand - only to land, blade stuck in, on the wooden surface. It happens once, and it looks like luck - shocking luck at that - but then it happens twice more and you realise that it is a skill. We also see some ridiculous sequences as the dog, Luke, runs on a home-made running-machine. Though it may be cruel - it is incredibly funny to see the dog running as fast as it can and getting nowhere. This whole sequence climaxes in thr aforementioned flour-fight, before suddenly changing direction to show Arbuckle attempt to win the love of Amanda by breaking into her all-female boarding school by dressing in drag. His rival, without knowing about Arbuckles plan, concocts the same plan giving us plenty of laughs when we see the two bumbling idiots feminise their characters.

Throughout all of this, Buster Keaton is in the background - not always as deadpan as he would later become - but definately in character. His physicality as he is pulled around and leaping across beds shows a real natural in his style and from this early cinematic-endeavour, Buster Keaton was clearly thr stand-out performance. Arbuckle had struck gold with this actor and the two continued to work together in the future - but, considering Keaton and Lloyd are often mentioned alongside Charlie Chaplin, at this moment in history Chaplin was towards the top of his game - and unknown to him Buster Keaton and Harold Lloyd were waiting in the wings to show something different. The Butcher Boy gives us a little tease about whats to come...