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Buster Keaton
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Buster Keaton: Cut to the Chase
An American icon, Joseph Frank “Buster” Keaton is easily acknowledged as one of the greatest filmmakers in early cinema and beyond. His elaborate slapstick made audiences scream with laughter. But, his stone face hid an internal turmoil. In BUSTER KEATON: CUT TO THE CHASE, biographer Marion Meade seamlessly lays out the life and works of this comedy genius who lacked any formal education. “Buster” made his name as a child of vaudeville, thrown around the stage by his father in a cartoon pantomime of very real abuse. The lessons he carried forward from that experience translated into some of the greatest silent films of all time. Keaton wrote, directed, performed, and edited dozens of...
Camera Man
They were calling it the Twentieth Century -- "She is a little animal, surely" -- "He's my son, and I'll break his neck any way I want to" -- "The locomotive of juveniles" -- A little hell-raising Huck Finn -- The boy who couldn't be damaged -- "Make me laugh, Keaton" -- Speed mania in the kingdom of shadows -- Pancakes at Childs -- Comique -- Roscoe -- Brooms -- Mabel at the wheel -- Famous players in famous plays -- Home, made -- Rice, shoes, and real estate -- The shadow stage -- Battle-scarred risibilities -- One for you, one for me -- The "darkie shuffle" -- The collapsing façade -- Grief slipped in -- The road through the mountain -- Not a drinker, a drunk -- Old times -- The coming thing in entertainment -- Coda: Eleanor.
The Complete Films of Buster Keaton
A master of slapstick and sight gags, Buster Keaton was one of the major comic innovators in film. In the 1920s he emerged as one of the trio of stars in comedy features, taking his place beside Chaplin and Lloyd as an international icon.
Buster Keaton
Smith tells of the most dazzling and enigmatic of the silent clowns, a man who began his career in vaudeville as one-third of the Three Keatons at age four only to fall from grace with shattering swiftness in the early 1930s before eventually making a comeback on television in the 1950s.
The Theater and Cinema of Buster Keaton
Famous for their stunts, gags, and images, Buster Keaton's silent films have enticed everyone from Hollywood movie fans to the surrealists, such as Dalí and Buñuel. Here Robert Knopf offers an unprecedented look at the wide-ranging appeal of Keaton's genius, considering his vaudeville roots and his ability to integrate this aesthetic into the techniques of classical Hollywood cinema in the 1920s. When young Buster was being hurled about the stage by his comically irate father in the family's vaudeville act, The Three Keatons, he was perfecting his acrobatic skills, timing, visual humor, and trademark "stone face." As Knopf demonstrates, such theatrics would serve Keaton well as a film dire...
Buster Keaton's Sherlock Jr.
On the film Sherlock Jr. directed by Buster Keaton
Buster Keaton's Silent Shorts, 1920-1923
By the mid-1920s, Buster Keaton had established himself as one of the geniuses of cinema with such films as Sherlock, Jr., The Navigator, and his 1927 work The General, which was the highest ranked silent on the American Film Institute's survey of the 100 greatest films. Before Keaton ventured into longer works, however, he had honed his skills as an actor, writer, and director of short films produced in the early 1920s. In Buster Keaton's Silent Shorts: 1920-1923, James L. Neibaur and Terri Niemi provide a film-by-film assessment of these brilliant two-reelers. The authors discuss the significance of each short--The High Sign, One Week, Convict 13, The Scarecrow, Neighbors, The Haunted Hous...
Buster Keaton
The world-weary cynicism, the acceptance of chaos, and the inevitability of the fading of romance that seem to characterize a post-holocaust generation make Keaton a favorite with today's audiences; they prefer his detached cool to Chaplin's often impassioned sentimentality and spirited commitment. There is no question that Keaton was an innovative filmmaker with an instinctive awareness of the unique possibilities of the camera and that he anticipated the cinematic strides of such later masters as Renoir, Welles, Antonioni, and Kubrick. Neither his content nor his structure seems dated. We can learn much from him, about the folly of pride, about the importance of persevering, and about the fact that the value of a human life is not measured by money, but by work. Experts, students, and enthusiasts will find great value in this book.
