El chivo

The comments on this page attesting to the genius of this film are all on target. After more than eighty years, it's still fresh; last year's Hollywood comedies are stale by comparison. I was lucky enough to see this screened at Webster University with a live, contemporary soundtrack performed by the After Quartet. Not only did these guys do a first rate job, but it made me realize how liberating it is for the classics of silent film to be performed without a hokey, melodramatic "style pianola" soundtrack.

'The Goat' is the one with the shot of a train coming right at the camera, and stopping just as it reaches the viewer with Buster sitting there on the cowcatcher, which is simply marvelous (it's at about the 9:05 point). He's running from the police because he accidentally hit one with a horseshoe (fleeing from just three of them here, unlike the horde in the following year's film, Cops), and he's running from a guy trying to collect a reward, having been mistaken for the notorious killer 'Dead Shot Dan.'

There are lots of clever moments here, including Buster being dragged on his belly by a car, ingeniously catching three cops in the back of a truck, hiding behind a burly traffic cop by standing behind him and making the same arm motions, and hopping on a table and leapfrogging over a guy's head to dive through a transom window. He shows his prowess with trains, something we'd certainly see later in his career, by climbing to the roof of one as it chugs along and unhooking the car containing the police. He jumps into what he thinks is the spare tire of a car about to drive off, thinking he will make his getaway, only to find it's part of sign advertising Vulcanizing. My favorite bit was at the end though, with the chase up and down the stairs and the elevator manipulation - Buster controls it by climbing up and moving the dial saying what floor it's on, you see.

Keaton's extraordinary physical comedy was highly influential to cartoonists like Chuck Jones and comedians like Lucille Ball among countless others, and it's very easy to see that in this film. It may not have his very best material, but the pace is great and there is quite of variety, making it a lot of fun. The title seems to be short for 'scapegoat' since that's what the character ends up being, but I like to think of it as The GOAT, the Greatest of All Time, because that's what Keaton surely is.

A simple contrivance--the Great Stone Face is mistaken for an escaped mass murderer--gives Buster Keaton room for changes rung on a theme that will make your jaw hang. The amazing thing here is the protean story invention--Keaton uses an offhand set-up to generate every kind of reversed-expectation gag. He shortens, elongates, and crash-dives out of left field every expected joke. The astonishment here is the surrealist freeness with storytelling, not just the masterly composition and choreography. THE GOAT feels as gaily, cartwheelingly modern as UN CHIEN ANDALOU. And more than even some revered Keaton features, it's a masterpiece of invention.

This is an extremely funny short feature, filled with good material and executed with perfect timing. It's a fine display of Buster Keaton's comic skill, and it's also an enjoyable example of the way his characters stoically and resourcefully face the most bizarre and unexpected of developments.

The story starts with a silly mix-up (in a very clever scene that is also nicely executed) that sees Buster mistaken for notorious criminal 'Dead Shot Dan'. From then on, it is non-stop chases, stunts, and general chaos.

It's all inspired silliness, with Keaton's creativity and sense of the absurd both in full force. If you enjoy Keaton's comedies, you should love "The Goat". In fact, you have to watch it more than once to catch all of the good material, and it's just as funny the second (or third) time through.

Not all, but most of this story is Buster being mistaken for "Dead Shot Dan," a notorious criminal.

There really is no story, just a series of adventures to show off Buster's physical talents, which are amazing, and his comedic timing. The 27-minute film is basically one adventure after the other mostly involving someone chasing our hero.

Earlier, it's a couple of policemen on their beats racing through the streets after Keaton and later it's "Big Joe" Roberts, a rotund cop - and father a girl Buster is interested in - who chases him. Those latter scenes were the best I thought, with a lot of clever gags involving the hotel elevator where Big Joe and his daughter live. That was Keaton at his best.

It's just a madcap half hour that makes little sense, but cares? It's Buster at his slapstick best, or near it, and so it serves its purpose: to entertain us. Just think: 85 years after this film was made there are people (like me) still discovering and enjoying these silent comedy classics! Cool!