Fatty en el garaje

That kind of collaboration giving a gem, because the clash between two different characters and two meanings of a garage are well used for fun, for inspired gags and as frame of a special form of nostalgia. A lovely short film reminding the genius of two great commedians.

Keaton and Arbuckle have come a long way since "The Butcher." It's wonderful to see how well they work together in this one.

Leave it to Buster to go *up* the firehouse pole routinely!

There is indeed a lot of "The Blacksmith" (1922) in this one; maybe that, as well as "Cops" (1922), were both Keaton's homage to Arbuckle during his legal trials (which began in late 1921).

Also, now I finally understand the bathtub scene with Sybil Seely in "One Week," which came out in September 1920 ("The Garage" came out at the beginning of that year). The cheesecake seemed out of place in "One Week," but I see now that Keaton was duplicating the scene with Molly Malone here in "The Garage." He did it so well, I had to look both shorts up to make sure different actresses played them.

"One Week" was the first short that Keaton made on his own, and perhaps that explains why "The Garage" is the last Keaton-Arbuckle collaboration.

Also, I used to think Seeley was the most athletic of the Keaton female co-stars, but Malone is even better here.

The scene with Buster running on that spinning disc is also done, in a very different setting, in "The Haunted House," a Keaton short that came out a little over a year after "The Garage."

The last Arbuckle/Keaton collaboration is one of their best. Stripped of romantic interest and Al St John, all we have here is Roscoe and Buster doing what they do best - having fun for everyone else's enjoyment. Working the dual jobs of mechanics and firemen the boys keep the laughs coming thick and fast. Most of the jokes work and some are positively inspired. The scene where Buster dresses as Sir Harry Lauder still has me laughing. There's also the first appearance of a piece of action where a trouserless Buster is dodging a policeman aided by Roscoe. This gag resurfaced years later when Buster appeared in The Twilight Zone. It's a shame they didn't make a few more films as Buster and Roscoe were well into their stride at this point and understood each other perfectly.

AFTER HAVING ENTERED the world of movie making rather casually in 1917, Buster Keaton's ascent to the top of the heap of Silent Clowns was put on hold thanks to World War I. Returning to the cameras after cessation of hostilities, he remained a supporting player for now good friend, Roscoe "Fatty" Arbuckle. This is his last short in supporting role.

SEEMING MUCH MORE complex and developed than previous outings, THE GARAGE offers us plenty of action, sight gags and a more substantial storyline than those that preceded it.

UINDER THE DIRECTION of star, Mr. Arbuckle, the action and situations flow freely through the commercial garage; what we would nowadays call a "service station." The characters and their accompanying situational humor situations are ushered to front stage in a smooth, well paced fashion. Time is taken in the prep, as well as the ultimate execution of each vignette and its gag potentiality. Arbuckle and Keaton had both evolved high above the break neck speed of Sennett, Larry Semon and others.

OCCUPATIONS ARE DEFINITELY on the front burner of this outing, as the story mixes in Police and Fire services. The boys are apparently in some volunteer fire department; as they both sleep on the upper floor, use a firemen's pole to descend to main level and do answer a false fire alarm.

THE PREVELANCE OF mechanical gadgets in the story. such as a giant turn table and fan system indicate that Buster Keaton might well have had a good deal of influence in shaping this last Arbuckle silent short into what it was. It is not hard to imagine that Buster could have readily fit the bill of hero without sidekick/assistant.

FOLLOWING THIS MOVIE, Keaton did move into his own series; superseding Roscoe at the Comique Studios. Roscoe had moved on to his own company, Paramount, Feature Films, and the scandalous accusations which ruined a ruined career and a shortened life.

Keaton and Arbuckle's final collaboration is also their finest. With Fatty soon moving on to feature-lengths and Buster continuing as a solo act, the prolific duo came together one last time to entertain audiences (and themselves) in a typically short, simple silent comedy.

They're a pair of mechanics this time, serving double-duty in a combination garage / firehouse, and incapable of finishing one job without creating two or three new ones. The various props and occasions of a busy day in the auto repair business provide ample opportunity for clever laughs, which Arbuckle and Keaton casually pluck like fresh fruit from an overburdened apple tree. It's jam-packed with smart, funny, groundbreaking material; twenty-odd minutes of nonstop escalation. A posh suitor, interested in dating the boss's daughter, sees his neat white suit (and thoughtful flower bouquet) summarily ruined by the bumbling duo, who happen to be working with motor oil nearby. Wobbly vehicles are rented out with no chance of leaving the yard. An enormous turntable, once used to wash and inspect cars, becomes a high-speed human dry-cleaning station and, soon enough, a treadmill.

There's so much rich, creative energy jammed into this small package, it's hard to believe the masterminds behind it were about to split apart. In time, that divorce would work to Keaton's benefit. Arbuckle, sadly, wasn't quite so fortunate.