Skip to main content

One Week

Director: Buster Keaton and Edward F. Cline
Year: 1920
Run-time: 22 min
Source: Youtube

Watching this after Tih Minh was like a nice, glass of iced tea after a hot summer day.  I've always been a huge fan of Buster Keaton, and this list is a nice opportunity to see some of his lesser-known works as well as watch some favorites once again.  In this one, the classic Keaton persona hasn't really developed yet, but the slapstick and incredible stunts are all there.

The film itself is a parody of an educational short promoting prefabricated houses, but anyone who's put together an Ikea bookshelf can understand the humor.  The bizarre misshapen house that gets produced due to some mislabelled boxes is one of the best singular props in early cinema - it alone makes the film worth it.

As for the stunts themselves, they make it clear how Disney and Looney Tunes stole shamefacedly from Keaton and the vaudeville tradition.  Keaton himself is sometimes Bugs Bunny, sometimes Daffy Duck:  he saws a board that he's sitting on, drives the bottom half of a car out from under him, and never looks worse for wear.

This is a great film for anyone looking to see what Keaton was all about.  It has many of the same tricks as Steamboat Bill, Jr, and they're a little more jawdropping in that film, but the humor is much more concentrated here.  You can't ask for much more in 20 minutes.






Comments

Popular posts from this blog

簪 (Ornamental Hairpin)

Director: Hiroshi Shimizu Year: 1941 Run-time: 1 hr 15 min - Like The Masseurs And A Woman , this takes place in a mountain spa, and is centered on the characters' drive for escapism. From hindsight, this would seem to be the director's desire to escape the war - one of the characters is apparently a soldier (who is injured by the titular object and kept from returning), although it's barely mentioned. It probably isn't far to read too much historicity into this film. Like its predecessor, it's a short and light glimpse into a few lives meeting in this setting defined by transience. It's less than 80 minutes, but takes a glacial pace in which our thoughts will naturally wander. That's not a criticism - in a way, it helps us relate to the characters, whose thoughts are also returning to the "real world", no matter how much they may wish otherwise.

Fétiche Mascotte (The Mascot)

Director: Ladislas Starevich Year: 1933 Run-time: 26 min Source: Youtube Notable For : The second animated short on the list from 1933 is this stop-motion piece from the Polish-Russian film-maker Ladislas Starevich.  Stop-motion is almost as old as cinema itself (Starevich had been innovating since 1912).  The craft here is as good as any modern film, and Starevich's twisted imagination is on full display, with dolls and household objects coming to life in a dark version of Toy Story.  For animation fans, it almost goes without saying that Starevich was an influence on Jan Svankmajer's work much later. Verdict :  Every frame is a bizarre delight. There didn't seem to be an overarching plan to this work (indeed, it's possible that The Mascot  is an amalgamation of several shorter films featuring the same dog character), and so the film veers from one strange scene to the next, with much of the second half taking place in some kind of tchotchke hell governe...

Le Quai des brumes (Port Of Shadows)

Director: Marcel Carné Year: 1938 Run-time: 1 hr 31 min - This is the first of two Carné films on the list from 1938.  We haven't talked much about French poetic realism, the style pioneered by Pepe le Moko  (also starring Jean Gabin), but this is where that style heavily overlaps with what would become film noir (Wikipedia claims this was one of the first films to be called as such).  The tropes of noir are so heavily associated with post-war depression and malaise that it's pretty shocking to see these same tropes show up before the war - the French government agreed, and even banned this film for a time as not representative of the French spirit.  It's an excellent film, though. From my perspective, both of these early Carné works show clear ties to the Marseilles trilogy - this one, because of the persistent theme of the sea as a place for escape and loss of identity. - I am much more in love with the French acting style of the 30's than I am...