Login
When it comes to comedy, have a particular appreciation for the witty and sophisticated kinds, of which there are many classic examples out there. The same can be said for comedies that take a broad approach without being too juvenile or crass, am far less keen on those kinds of comedies and too many of them today overdo to puerile effect. There are many instances of silent films/comedies, seen with Charlie Chaplin, prime Laurel and Hardy and with Buster Keaton.
Have always considered Keaton one of the greats, as do a great many. It is a shame that he didn't transition as smoothly into the sound era from the silent as Chaplin and Laurel and Hardy, because in his prime (the 1920s) he was every bit as great, as funny and as likeable. His daring physical comedy and stoic deadpan expressions, that earned him the nickname of "The Great Stone Face", were unique and ahead of its time at the time and still amaze and are distinct now, plus he was a bigger risk-taker with bolder material and immense courage that most wish they could have. This was apparent in 'The General'. It is also every bit as apparent in his last fully independent film 'Steamboat Bill, Jr', one of his last "great" films and one of the crowning achievements of his whole career.
'Steamboat Bill, Jr' may not quite be the technical achievement that 'The General' is/was, but it still does look great. It is beautifully shot and designed but it's the effects and how they're used that stand out, it should be used as an example of how to have effects that still look good and like a lot of effort and care went into them and also use them properly, rather than overusing and abusing them to gratuitous effect with varied at best success as seen frequently now. The direction keeps things moving with control and balances everything beautifully.
In terms of the humour, 'Steamboat Bill, Jr' is a funnier film than 'The General'. It is never less than very funny, hilarious at its best, and the timing is spot on. The hat and jail cell scenes are the comedy highlights. Making more of an impression was the action and stunts, remarkably bold, leaving one in jaw-dropping awe and just exciting to watch. The cyclone, which still looks pretty impressive today, and house falling down on Keaton sequence sees Keaton stunts at their most spectacular and daring, a sequence that is justifiably famous and impossible to forget once seen.
Like 'The General', the story in 'Steamboat Bill, Jr' is a winner. It is easy to criticise its slightness and the slow start, they weren't issues for me actually because everything else that followed stick in the memory much more. There is a tender understated quality that is very surprising and the romantic element is genuinely charming without being sappy. The film also has a story that's easy to follow and at the same time is logical and interesting, indicating a film with brains as well as soul that treats the viewer with respect rather than getting irritated by credibility straining and logic lapses. Keaton as to be expected is superb here, not only is his comic timing on point but he once again provides a character that's endearing and worth rooting for. His physicality and how he copes with the stunts is awe-inspiring and he is one of not many to make deadpan interesting and entertaining because he still makes it very expressive and nuanced. Ernest Torrence is particularly good in support.
Overall, another Buster Keaton masterwork and one of his best. 10/10 Bethany Cox
10/10
