Buster Keaton Collection (2004)
The Cameraman (1928) / Spite Marriage (1929) / Free & Easy (1930)
2xDVD9 | ISO+MDS | NTSC 4:3 | Complete Scans | 158 mins | 7,35 Gb + 6,70 Gb
Score with English intertitles; English monaural on Free & Easy | Subs: French, Spanish
Genre: Classics, Drama, Comedy
The Cameraman (1928) / Spite Marriage (1929) / Free & Easy (1930)
2xDVD9 | ISO+MDS | NTSC 4:3 | Complete Scans | 158 mins | 7,35 Gb + 6,70 Gb
Score with English intertitles; English monaural on Free & Easy | Subs: French, Spanish
Genre: Classics, Drama, Comedy
Considered by many cinema's greatest silent clown, Buster Keaton was a consummate practitioner of physical comedy whose career began in vaudeville at the age of three. Wearing trademark slapshoes and big baggy pants identical to his father's, most gags involved pratfalls with his father kicking him across the stage or tossing him into the air. Within a few years of his debut, Keaton was scoring rave reviews which applauded the physical comedy that would come to be so much a part of his film fame. "The dexterity or expertness with which Joe Keaton handles 'Buster' is almost beyond belief of studied 'business.' The boy accomplishes everything attempted naturally, taking a dive into the backdrop that almost any comedy acrobat of more mature years could watch with profit".
A two-disc DVD collection that spotlights the actor's MGM period. "TCM Archives: The Buster Keaton Collection" features two of Keaton's funniest silents, "The Cameraman," re-mastered with a new score by former Frank Zappa band member Arthur Barrow, and "Spite Marriage" (featuring its original 1929 Vitaphone musical score) along with "Free and Easy," Keaton's first talkie. The DVD set also features film historian Kevin Brownlow's poignant new documentary "So Funny It Hurt: Buster Keaton and MGM."
The Cameraman - IMDB (01:22:56)
Spite Marriage - IMDB (01:23:02)
Free and Easy - IMDB (01:32:34)
Buster Keaton, one of the true geniuses of silent comedy, was going through some bad times in 1928. His marriage was on the rocks, his last couple of films had lost money, but worst of all, he lost his production studio. Joseph Schenck had set Keaton up in his studio years before and had bankrolled a lot of Keaton's films. But Schenck had lost money on nearly every film he produced since 1925 and was running United Artist too. In late 1927, he decided to stop being an independent producer and devote his time to UA. This meant that Keaton no longer had a source of funds to make his films. In effect he was out of a job.
Schenck was one of the last big time independents still working in Hollywood, and there really wasn't anyone else that Keaton could turn to that would put up the money for his movies, and leave him alone to create them. The other two big silent comedians, Charlie Chaplin and Harold Lloyd started financing their pictures themselves (Lloyd had a production unit at Paramount but financed it himself). Keaton didn't have to money to do that. So his only choices were to stop making movies, or to join a studio.
Keaton could have gotten work at any of the major studios at the time, but he settled on MGM. They were one of the premier movie factories at the time, but more importantly Joseph Schenck's brother Nicholas was running the studio at the time. Keaton probably felt that he would have a similar working relationship with Nicholas as he did with Joseph. He was mistaken.
MGM was a movie factory, almost an assembly line. They had writers crank out scripts, directors to film them and stars to act in them. Everything was scheduled and planned out before hand. It was an efficient and profitable way of making films, but it wasn't what Keaton was used to. Keaton's style was to gather everybody around, writers, actors, camera and lighting men, and come up with a premise. They'd loosely work out the opening and conclusion to a film, and worry about the middle later. While they were actually filming, they would incorporate gags that presented themselves and alter the script (more of an outline really) accordingly.
This way of making films just didn't fly at MGM. They wanted a completed script with all the gags worked out in detail before shooting began. That way they could accurately estimate how long the filming would take and how much the movie would cost before shooting even began. Keaton baulked at this and ended up fighting the management a lot during production of his first film for MGM, The Cameraman. Though it was a contentious time, the film turned out wonderfully and is considered Keaton's last great film.
Warner Brothers, in association with Turner Movie Classics, has now released the first three films that Keaton made at MGM in a two DVD set entitled The Buster Keaton Collection. This includes his last two silent movies, The Cameraman and Spite Marriage, and his first talking film, Free and Easy. Even though this is the chronicle of a true talent in decline, they are still a very interesting set of movies.
Considered by many the greatest of cinema's silent clowns. Buster Keaton was a consummate practitioner of physical comedy. Although labeled the "Great Stone Face," Keaton found tremendous eloquence in his deadpan style with the alert and expressive eyes, lithe acrobat's body and that air of grace described by critic James Agee as "a fine, still and dreamlike beauty."
This TMC Archives 2-disc celebration of Keaton's art puts the spotlight on his MGM period. The Cameraman, remastered with a new score by Arthur Barrow, and Spite Marriage are among Keaton's funniest silents, while Free and Easy is his first talkie. These films marked a peak in his popularity with audiences. However, Keaton resented the loss of artistic control he had enjoyed in his earlier movies and was on the brink of a major career decline that he blamed on studio interference.
This watershed period in Keaton's life is the basis for film historian Kevin Brownlow's poignant new documentary So Funny It Hurt: Buster Keaton at MGM, completing a DVD collection which offers keen insight into what makes Keaton's unique style of comedy hilarious, moving and timeless.
Special Features:
DISC ONE:
- Introduction by Turner Classic Movies Host Robert Osborne
- Commentary on The Cameraman by Glenn Mitchell, Author of A-Z of Silent Film Comedy: An Illustrated Companion
- Commentary of Spite Marriage by Silent-era Film Historians John Bengtson and Jeffery Vance
- Photo Montages on the Two Silents
DISC TWO:
- So Funny it Hurts: Buster Keaton and MGM (38 mins)
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