Bier her!

I love Keaton, but there is nothing here that resembles Buster Keaton. That any could find this a good film is totally beyond me. It is sad and painful to watch.

It is hard to imagine a worst partner for Buster then Jimmy Durante. Durante spends most of the movie yelling and waving his arms frantically. All poor Buster can do is stand around displaying his deadpan face. The attempts to inject physical humor into this are about as artless and unfunny as it gets.

If you like watching train wrecks, go for it. For me I will watch The General again. I would much prefer to remember him in that.

Certainly not great, but not awful either. It's topical with the end of Prohibition, and the film's treatment of this is a celebration, with some wonderful moments towards the end. Unfortunately, Buster Keaton, already depressed and drinking heavily, was fired afterwards, marking an even sadder inflection point in his career, as bad as the MGM years were. These things tugging the emotions in opposite directions make it worth seeing.

The film leans on Durante, who delivers his malapropisms and "ha cha cha" shtick with zeal. "Say, it's so dark here, I can't see the nose before my face," Buster says. "I don't have that trouble," Durante replies, in perfect deadpan. Contemplating Buster being with the woman he's fallen for, he quips "Can you imagine? At a time like this. Elmer's in the park - spoonin'. Why, it's enough to give a man 'varicoose' brains!" There are many others, not uproarious, but delivered energy and charisma.

As for Buster, it's always sweet to see him lovelorn (the object of his affection played by Phyllis Barry), but the only moment truly worth the price of admission is him running down a hill away from a bunch of beer barrels bounding along after him. It ain't Seven Chances (1925) with the rocks, but it ain't bad. Buster also reprises the overflowing yeast gag from My Wife's Relations (1922), but the slapstick from Durante and the workers who are like 3 stooges-lite isn't all that funny.

There was a clever bit of innuendo at the polling place, when Durante's character says his name is "Potts - and no crack!" When Buster steps up next he reports his name is "Elmer J. Butts," and the silent "and no crack" can be felt. Buster also gets in a funny line when a swarm of townspeople descend upon the brewery to "drink up all the evidence." The best moment is saved for Durante, however, who while breaking the fourth wall blows the suds off a stein of beer and says "It's your turn next, folks! It won't be long now! Ha cha!" While FDR had been elected, it would be another 10 months before this was true.

This film has a reputation of being an unfunny horror. It is just not so. Buster does seem to be a little intoxicated throughout the film, but it is really very funny. This is the only film where Buster and Durante are really teamed. They appeared together in two previous films, but they worked independently. Sure, it's a period piece about the repeal of Prohibition, but there are some pretty funny set pieces throughout the film. For those people who have an aversion to musical numbers thrown into slapstick comedies, have no fear. There are no musical numbers. (This is a shame, since both Buster and Durante handle musical material very well!) This was Buster's last American studio starring feature film. Following this, he stars in a French film, a British film, and a Mexican film. MGM was never a great studio for broad comedians. They really didn't know how to handle Buster. But he's not alone. The Marx Brothers, Laurel and Hardy, and Red Skelton were also done in by MGM's inept handling of slapstick comedy. This film is worth a view. It's still young Keaton and it proves that Buster could handle himself very nicely with sound.

Keaton followers know his decision to go to MGM was a disaster artistically and the smothering of his talent is apparent in this film. In some scenes he looks like he hasn't slept in days. Stick with it though, as with any chance to glimpse comic genius, you can spot the sparks. Durante, also a unique performer, and Keaton don't make a good team. Keaton was a cool presence, far more subtle and with much more depth of characterization than other comedians of the era. Durante was a hot performer, more verbal, but with a manic physicality. At times, you worry that he's actually hurting Keaton with his constant shoving, grabbing, poking and slapping. There is a rather sexy performance from Phyllis Barry as Keaton's amour and one wonders why she didn't go on to become, as they say. Everybody works very hard which usually kills farce, but there are moments of pure zaniness usually involving barrels, and some good lines satirizing the standard gangster picture. Anyone who loves these two men, as I do, should see this, if only in giggling tribute.

I found this movie to be highly entertaining. Durante and Keaton are marvelous together. It is a shame more people don't know about this little gem. Keaton especially is so endearing and so believable. The gowns and furs on the leading lady were outstanding, the height of art deco elegance. Unrealistic for a gangster's moll, but extremely elegant. The cut of one of the dresses was just amazing. The movie moves along at a quick pace, and is just the right length. It is reminiscent of The Lavender Hill Mob, a group of endearing, comedic men trying to pull off a caper. It could also be viewed as a piece of history as it was filmed right around prohibition time.

Surely something all beer lovers would enjoy, the enthusiasm of all that beer.