Busters bunte Bühne

Originaltitel: The Play House

1921
0
23 Min.

IMDb-BEWERTUNG

IHRE BEWERTUNG

Buster Keaton in Busters bunte Bühne (1921)

Füge eine Handlung in deiner Sprache hinzuAfter waking up from his wacky dream, a theater stage hand inadvertently causes havoc everywhere he works.After waking up from his wacky dream, a theater stage hand inadvertently causes havoc everywhere he works.After waking up from his wacky dream, a theater stage hand inadvertently causes havoc everywhere he works.

Regie
- Edward F. Cline
- Buster Keaton
Drehbuch
- Buster Keaton
- Edward F. Cline
Hauptbesetzung

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

7,4/10

4733

IHRE BEWERTUNG

Regie
- Edward F. Cline
- Buster Keaton
Drehbuch
- Buster Keaton
- Edward F. Cline
Hauptbesetzung

Siehe Produktionsinformationen bei IMDbPro

Auszeichnungen
- 1 Nominierung insgesamt

Topbesetzung9

Ändern

Buster Keaton

Audience
(as 'Buster' Keaton)
…

Edward F. Cline

Orangutan Trainer
(Nicht genannt)

Monte Collins

Civil War Veteran
(Nicht genannt)

Virginia Fox

Twin
(Nicht genannt)

Joe Martin

Orangutan
(Nicht genannt)

Joe Murphy

One of the Zouaves
(Nicht genannt)

Joe Roberts

Actor-Stage Manager
(Nicht genannt)

Jess Weldon

One of the Zouaves
(Nicht genannt)

Ford West

Stage Hand
(Nicht genannt)

Benutzerrezensionen28

Ausgewählte Rezension

10/10

A visual delight... perhaps Keaton's Best Short.

Drawing from his experience in vaudeville during his youth, The Playhouse is one of Keaton's most autobiographical shorts. Keaton displays his inventive genius for visual effects in a dream sequence by playing the role of all performers in a minstrel show and its audience as well. Each Buster, from drum player to a Grandma Buster, has its own distinctive personality and character. This is truly one of the great sequences of Keaton's career.

Buster is awakened from his dream of grandiose, caught sleeping on the job. In the second part of the short, he plays a stagehand who gets into trouble both on and off the stage. From this point forward the short relies less on technical marvel, but remains equally entertaining. Keaton's facial impressions when dressed up as a monkey are priceless.

As with most Keaton shorts, there are many unique details which enhance the overall film, but are not essential to the plot. Some of the funniest shots in the film don't even involve Buster, specifically two hilarious Civil War veterans in the theater's audience, each with only one arm.

Buster's co-star in The Playhouse is Virginia Fox. She does a charming job in a dual role playing twins. It has been written that in his youth Buster had a fondness for twin performers and was known to pursue both sisters.

kevin22
1. Dez. 1998
Permalink

Wissenswertes
The multiple Busters on screen together were created in the camera, using a special lens with shutters to film only a portion of the scene at a time. Buster would perform one part, then the cameraman would crank the film back and open another shutter to film another part. A banjo player with a metronome helped Buster Keaton to perform precisely at the right time for each take.

Patzer
Sometimes the background is visible through the elbow of Male Audience Member Buster, revealing the double-exposure technique used to film two Buster Keatons sitting side by side.

Zitate
Man in Audience: This fellow Keaton seems to be the whole show.

Alternative Versionen
The 35mm print currently (2006) available for theatrical exhibition is slightly different from the DVD version:
- There is a British Board of Film Censors approval title and an extra title mentioning the Raymond Rohauer collection.
- The inter-titles are in a different font but contain the same text as the DVD version.
- The "Written and Directed by" title credits Buster Keaton solely.
- There is an out-of-sequence edit in the print. The scene where the Zouave guards walk out and Buster replaces them with street workers comes immediately after the sequence where Buster meets the twins. It begins right as the Zouave chief comes under the stage backdrop and confront Joe Roberts. The scene plays to the fadeout and then immediately cuts to the beginning of the monkey scene. At the end of the monkey scene, the backdrop confrontation begins and abruptly cuts right where it left off earlier in the film.