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Keaton plays a character that is somewhat bewildered by life-he meets the wrong train, he asks permission to quit winning at gambling, he is even inept in getting arrested. All is done with his deadpan expression and his intense eyes. This combination of innocence adrift in a life of circumstances provides Keaton with ample humorous moments. At times, I found the comedy to be somewhat muted; yet the pacing was well done and the stock market scenes are thoroughly delightful. `The Saphead' is not on a par with `The General', ‘Sherlock, Jr.', or `Seven Chances', but the film has its share of riches for the viewer.

The Saphead" does not showcase Keaton the filmmaker, but rather Keaton the actor. The script is from a play, the directors are individuals Keaton never worked with before or hence, and the studio was Metro, predecessor of MGM. Keaton plays Bertie the Lamb, mild-mannered and spoiled son of Nick Van Alstyne, "the Wolf of Wall Street". In spite of the fact that Keaton had no creative input to the film and isn't actually its centerpiece, there is much to like about this film and much that is so Keatonesque. Keaton plays an old-fashioned romantic and someone that is thrust into the role of the fall guy by the actual bad guy - a theme he repeats in his own features. He also has down pat the part of being the well-dressed dapper man of the 1920's, which he repeats with more comic effect in "The Battling Butler", where he did have creative control.

He's rich, he's a bit lazy, he gets the girl in the first half-hour, he even smiles a bit. It's not the Buster Keaton you expect. But he's still Keaton, and even if his first feature film creaks a good deal, he keeps you entertained.

"The Saphead" presents the story of Bertie Van Alstyne (Keaton), son of Wall Street tycoon Nicholas Van Alstyne (William H. Crane). Bertie lives a life of Manhattan luxury but secretly pines for the beautiful Agnes (Beulah Booker), who secretly pines for Bertie in turn. Happiness appears at hand until a strange turn of events shatters their union.

A 1920 production of a hit stage play, "The Saphead" was designed to fit audience conventions of the day, not showcase Keaton's still-emerging comic persona. Sentiment and improbable coincidences run rampant here. Given that, it's impressive how well the Keaton we would come to know is presented. He is given many chances to present his clownish athleticism, as well as that expressionless-yet-not-emotionless manner that has beguiled film lovers for decades.

Was Herbert Blaché, the credited director, preternaturally wise to Keaton's style? Or did Keaton just know how to get his way even before he enjoyed full control of his features?

The problem with "The Saphead" is not Keaton, but its construction. In the first ten minutes, we are introduced to everyone in the film except Bertie, and given background about an adulterous affair that is then dropped for the Bertie story. Forty-five minutes in the two story lines come together, and in such a convoluted way as to beggar belief. Bertie is somehow pressed into taking the blame for the affair, even though it's obvious his brother-in-law is the guilty party.

Cue violins. A lot of "The Saphead" works toward this kind of sentimental dithering, even the Keaton parts, which get a bit strange. Bertie confesses his love to Agnes accidentally, when he tells his sister Rose about it. (Since Nicholas Van Alstyne adopted Agnes, doesn't that make her Bertie's sister, too?) Agnes is standing right there, though, and gives Bertie a bit of a shock before he recovers and takes her hand. This is strictly Buster for the old ladies.

The best way of watching "The Saphead" is as a couple of clever Keaton shorts with workmanlike connecting material. The first short would be Bertie's attempt to live a wastrel life, not because his heart is in it, but because he believes the modern woman "prefers sports to saints". To this end, in a great bit of physical comedy, Bertie tries to get arrested when his speakeasy is raided even though he successfully bribed a detective without knowing it. Every time he tries to enter the paddy wagon, someone pushes him back out.

The second short would be Bertie making his way on Wall Street in the last 20 minutes, overdressed in top hat, frock coat, and spats, being razzed by the other brokers. This culminates in a scene of wild physical comedy where Keaton runs around the trading floor, jumping on people and unknowingly buying up shares in his father's precious mine.

The Kino DVD I saw this on also has two shorts Keaton made at the same time, "The High Sign" and "One Week", which display Keaton as both director and star, and in much sharper form. "The Saphead" lacks the inventiveness of those shorts, but it works off-and-on as period entertainment thanks to Keaton and a good supporting cast. Booker is a typically shy Keaton-film beauty who delivers her scenes with grace. Crane has a fine comic moment sending his disgraced son off with a check for one million dollars "and not a penny more!"

It's not great cinema, but it's the start of great cinema, showing some the conventions of the time Keaton would do his part to break, and other conventions he would observe, en route to glory.

The problem with this film is that it not a slapstick comedy and was never intended to be one, so if you are going to watch it forget about Buster Keaton, the comedian and look at Buster Keaton, the actor. Keaton is a revelation in this film, his performance is restrained and excellent proving that he was an actor as well as a comedian, a fact that makes his middle years even more sadder, truly a talent wasted by the studio system of the 30's. I'd like to add that Keaton had no problems adjusting to talkies, as commonly assumed, he had a fine speaking voice and could deliver a comic line perfectly, the problem lay with him losing control of his productions and being given poor quality material to work with, he never lost his talent as widely believed. All the performances in this little gem of a movie are first class especially Irving Cummings and William H Crane as well as Keaton's. This is a nice way to spend an hour, but, the final twenty minutes are the best as it is plain to see Keaton's contribution in the scenes in the Stock Exchange as Bertie runs around manically saying "I take it", but, not really knowing why. For many people, their only experience of silent movies is slapstick comedy, so I would say broaden your horizons and start with this one.

Something like The Saphead isn't what you would expect to be Buster Keaton's feature film debut. The whole thing seems too ordinary, too stagey and melodramatic to be so. This is due to the fact that The Saphead was not a Keaton-helmed project; he was suggested for the role of the rich young man Bertie by Douglas Fairbanks, who had previously played the role on Broadway.

Bertie is the first of the spoiled, clueless young man types that Keaton would later return to in The Navigator and Battling Butler. He seeks to impress a sweet young woman named Agnes by coming across as a bad boy, gambling well into the morning hours and having breakfast in the afternoon. His father confronts him about this behavior and has him cut off until he can find a job. Bertie seeks out to do just that, in the meantime winning the hand of his girl-- well, almost. During the ceremony, his sister's slimy husband Mark receives letters from his recently deceased mistress Henrietta, asking him to take care of their illegitimate child. His secret about to be revealed, he presses the letters on Bertie, breaking Agnes' heart and bringing the union to an abrupt end. Fortunately, things manage to pick back up after Bertie unwittingly saves the family stock business.

While there are a few Keaton-esque moments every now and then, for the most part The Saphead is just a typical stage to film adaptation of the period. Unlike the films Keaton would later star in and direct, this picture lacks spontaneity and laughs. The action on screen never comes alive until the climax, when Keaton finally gets to jump and be thrown around as he dashes through the trading floor and saves the day. The entire movie isn't a bore, however, and there are a few humorous inter-titles and gags, but it's just doesn't have a story that seems to suit the particular talents of its main star.

If there is any humor in this movie, it is carefully concealed. Buster Keaton gives an energetic performance in what is otherwise a dubious attempt at self-effacing humor. Now, under certain circumstances self- effacing humor can be effective but not in this movie. The story is contrived, and Mr. Keaton's character is so shallow that one must wonder why anyone would pay him any attention at all. Irving Cummings and William Crane carry this movie. They give strong dramatic performances. Mr. Keaton's attempt at humor through deadpan is out of place in this movie. It simply is not funny. It does not generate laughs. Nor is his character particularly lovable. His character, Bertie, is spoiled and shallow. His love interest with the female lead is strained and entirely implausible. The plot is predictable. The movie does have some effective moments, such as when the Crane and Cummings characters confront each other and the frantic scenes of trading on the floor of the stock market, but otherwise the movie's value lies mostly in the its status as a quaint antique of movie making from a bygone era.

This isn't a Buster Keaton film; it's merely a film starring him. Having Keaton star in this feature-length, supposedly-more-serious production (as opposed to the short comedies he made) was a shrewd business move by Joseph Schenck, to boost Keaton's popularity for his upcoming projects, especially among the critics. It's an ironic twist that today "The Saphead" is only as widely circulated as it is because of its association to Keaton. Keaton was one of the greatest screen comedians and, at times, was an innovative filmmaker. Sapheads, however, made this one.

The light melodrama is worthless, and I think the comedy isn't funny. To have Keaton only act as a good-natured idiot is to limit and waste his talents. The film itself is a filmed play, with yappy intertitles and an awkward mix of melodrama and comedy, none of which works. Keaton understood comedy--the gags, timing and momentum. Watch his best work (or even some of his lesser ones) and you can see the huge difference between them and this--how and why they are funny and this isn't. Keaton also knew that cinema isn't theatre, that intertitles should be used economically in silent cinema, and he knew how to parody melodrama to mix cohesively within a comedy. "The Saphead" can be, at least, instructive in demonstrating how good Keaton's films are.

(Note: Some scenes are slightly damaged.)

Before I watched "The Saphead" I was under the impression that it was a Buster Keaton comedy, rather than a straight drama that starred Buster Keaton. For the first twenty minutes or so I was rather confused by the lack of jokes but then after a quick Google search I figured out what was happening.

After I realised what the nature of the film was, I found it pretty enjoyable. It's nothing special but it also isn't totally forgettable. The story may not be totally original but it did have some interesting beats in it that I wasn't expecting.

Keaton does a really good job in this role, and he even gets some moments to show off his comedic talents to the audience (the most notable being the stock market scene, which gets some decent laughs).

So yeah, overall it's nothing special but it's a decent watch and the feature film debut of a comedy legend.

'The Saphead' is Buster Keaton's first feature film, and it is my least favourite of all his 1920's silent movies (yes, I have seen them all!).

Nicholas Van Alstyne - or Nick - is the richest man in New York. His son, Bertie (Buster Keaton) shows very little interest in work. He is in love with Agnes, an orphan girl Nick brought up as his own child. Bertie believes girls like guys who party and gamble all night, and so he goes out partying and gambling.

Nick's daughter is married to Mark Turner, who is a broker, but not very successful. Then one day a young girl arrives at Mark's office with a letter from a Henrietta Reynolds, who is on her death bed. There are twist reveals about this character later.

There were very few funny moments and the premise also did not really interest me. Some of the humour came across as childish instead of funny. The film revolved too much about business, and simply wasn't exciting enough. I ultimately found it a bit boring.

After acting in fifteen short films, most of them with Fatty Arbuckle, Buster Keaton was finally given a break into the feature-film business, thanks to the personal recommendation of Douglas Fairbanks. In The Saphead, he plays the young, pampered son of the wealthy William H. Crane. This is an ensemble piece, with everyone in the family getting pretty equal screen time. And while it's technically a comedy, the major part of the plot is actually a very interesting drama. There's death, infidelity, deceit, family disinheritance, and scandal-but there's also funny banter and great situational comedy in the final scene. If you don't really understand the New York Stock Exchange, brush up on your buying and selling knowledge before you rent it, though.

I couldn't help but marvel at this movie, since it's the oldest movie I've ever seen. Technically, I've seen Birth of a Nation, but when I saw it, it was only 92 years old. The Saphead, since I just watched it only days ago, is 99 years old. Almost a century ago, people were walking and talking, laughing, falling in love, buying stocks, having affairs, and creating relatable stories to entertain audiences. Sure, the men in the movie wore heavy lipstick and shiny top hats, and the women used clothing to actually cover their bodies, but not much has really changed.

This film is not up to Buster Keaton's standards. The most interesting part of the film is the introduction, in which you see shadows of the stars in picture frames and then the shadows come to life and you see some of the stars of the movie. It's been said that this movie is a re-make of The Lamb (1915), but it isn't. The Lamb, which was Douglas Fairbanks' film debut, was much better. Fairbanks' character wasn't a wimp, like Keaton's character is in The Saphead. The only reason I don't give it a lower score is because of Keaton's presence in the movie, even though there is not much to like about his character. He's a wimp. So if you're looking for an example of his work, just about any of his other silent features or shorts that he stars in would be better than this.

While it is certainly not up to the standard of the later films that Keaton would direct and/or write himself, "The Saphead" is still a nice little film, and the last part is excellent, a sign of things to come. It would be worth watching for the last 20 minutes alone, and the first part is not bad either, just old-fashioned and sometimes a bit slow.

Keaton plays Bertie, the timid son of a rich businessman. Most of the film involves the business and romantic difficulties of Bertie, his sister, and his brother-in-law. It's slow at times, with some melodrama and a fair amount of mild humor but not a lot of really funny material. It's a decent story of the kind common to silent films, is usually pleasant to watch, and is important as the prelude and setup to the climax. In the last part of the film, Bertie joins the stock exchange, and all the story lines come together in a creative and very entertaining sequence that finally gives Keaton a chance to display his great variety of comic skills.

If you enjoy Keaton's other films, this one is not up to their level, but it is still worth watching.

"Saphead" is an awful romantic melodrama. Basically Keaton is just doing straight acting (the movie's based on a stage play). There is little comedy here.

But the 2 shorts included on the DVD -- "The High Sign" and "One Week" --are outstanding. They rate 8 and 9 scores, respectively. "One Week" anticipates many of Keaton's later gags and stunts, showing the kind of imagination and skill that made his films the funniest of the silent era (sorry, Charlie).

Buster Keaton's first feature -- an awful romantic melodrama -- is straight acting, little comedy. Opening titles say the film, a remake of a pre-WWI Douglas Fairbanks movies version of a popular stage play, made Keaton a star. Hard to imagine considering how he's so different in this than in his shorts.

But the two 1921 shorts included on this disk --"The High Sign" and "One Week" -- are worth the rental. Both show the Keaton character we know: eager but initially less than effectual. The gags mix complicated settings (trap doors, house walls falling on the stars (which presage later films) and Keaton's amazing physical dexterity and risk-taking. You'll laugh out loud at the shorts.

'The Saphead' was Buster Keaton's feature film debut that made him real star and respectable as an actor. The film is based on Broadway play where Bertie Van Alstyne was played by Douglas Fairbanks, who declined the opportunity to reprise his role on big screen. Instead he recommended Buster Keaton for the role. Compared to best known Keaton's movies 'The Saphead' might feel little bit boring and slow because the film doesn't contain much of his usual breathtaking stunt work and elaborate action. Still, with his deadpan expression and perfect comedic timing Buster Keaton shines as the inept in life son of rich magnate Nicholas Van Alstyne (William H. Crane). The film itself is well paced and nicely balanced, but the most memorable scene is in the stock exchange where Bertie saves the day when he thinks that he is being insulted, and has no idea of his deed.

Don't go into this film with high expectations of action packed comedy and you find yourself entertained. Plus, you can see Buster Keaton's more serious side, and that side is equally enjoyable as his awesome physical comedy. Definitely must see film for all the admirers of the great 'Stone Face'.

One movie Keaton had little input turned out to be his first feature film he appeared in, October 1920's "The Saphead." Metro Pictures had approached Douglas Fairbanks to reprise his role as a wealthy man's son in one of the actor's first Broadway plays seven years earlier, 'The New Henrietta.' He was busy with his new action hero projects, so he recommended Keaton to play his part. It was quite a dramatic shift in the type of movies Buster produced and acted in before. Some critics loved his performance, with Variety stating "His quiet work in this picture is a revelation."

"The Saphead" turned out to be a good training exercise for the comedian since his later features required a bit of dramatic acting as well as the normal knockabout stunts he highlighted in his shorts.

Keaton fans will be disappointed by this adaptation of a 1913 play which was originally intended for its Broadway star, Douglas Fairbanks. The comic's feature debut is as far from his customary knockabout farces as it is possible to get, with him playing the part of the simple-minded son of a Wall Street financier who finds himself cast off (with just $1 million) when he announces his intention to marry his father's young ward (Beulah Booker). Apart from a 10-minute sequence set on the floor of the New York Stock Exchange, Keaton gets very little chance to perform his physical acrobatics, and the meagre touches of humour to be found in the screenplay simply aren't strong enough to carry the film.

Bearing lighthearted humor and mild drama, one must know from the start that while Buster Keaton stars, this is not one of the robust romps typical of the legend's peak. The physical comedy and stunts for which he was known in his greatest short and full-length films is largely traded for more simple sight gags, situational humor, misunderstandings, and the daft silliness of Keaton's dimwitted protagonist Bertie failing to grasp basic concepts. It never reaches near the level of excitement or hilarity that follow from the likes of 'Go west' or 'The Navigator.' In fact, there's more drama here than comedy, and even at that, the picture mostly flows along so serenely that before you know it - and before much of anything seems to happen - it's already more than half over. Still, if not essential and riveting, 'The saphead' is satisfyingly amusing.

It feels strange to see Keaton in such a comparatively straight, quiet role, but to his credit he manages the spotlight well with able (if subdued) poise and nuance. His co-stars are just as swell, with performances deftly meeting the delicate, uncertain balance between the picture's elements. If not entirely successful, I appreciate June Mathis' screenplay - accordingly an effort to blend two different stories - as it weaves an adequately compelling narrative. The follies and foibles of the characters are suitably interesting to keep us watching and wondering just where it's all going to end up, and the climax is delightfully clever. However, well made as this is, and capably put together, it still feels like it's only Just Enough. Characters, scene writing, and the plot as a whole are enjoyable, but feel thin, dispassionate, and struggle to spark the imagination. It's storytelling through light and sound that meets the fundamental definition of entertainment as a movie, but feels less like an experience and more like checking off an item from a mundane to-do list.

None of this is to say that 'The saphead' is bad. On the contrary - it's a good time, and worth checking out if you have the opportunity. Yet whether you're a particular fan of Buster Keaton's brand of comedy, or just looking for a solid feature to devote your attention to, there's no reason to go out of your way for this. You can view it, and absorb all, while perhaps not wholly engaging with it. There are many, many others titles that I'd recommend before spending 75 minutes with this; all the same, it's a fair way to pass the time.

No pun intended and a german saying I just translated word for word - more or less. Also first things first: I have not read or seen any other work than this one. And I say this, because if you have read or seen anything that this is based on - you may feel differently about the movie and how it adapted it.

That all aside, this is early Buster Keaton - and because it is rather ... well slow paced, you may think it is a drama and not a comedy which the work this is based on actually is. I wouldn't have known that, if I didn't have the Criterion Collection which made it clear to me. But even if I hadn't seen some background stuff to the movie: I would have considered this a comedy - not just because of Buster Keaton.

He may "just" be an actor - but he has his work cut out for him. There are some fun and fine moments here ... but nothing that will get you too excited about. The movie builds up to a ... well "joke" for the end ... but is it worth it? Well that is up to you. A movie that is over a hundred years old ... and has not aged in the best way ... I doubt this will stay in many peoples mind ... but since it has Buster Keaton in it ... it will never be forgotten either ...