Buster Keaton: A Hard Act to Follow

Great subject; perfect execution. Brownlow (author of the wonderful THE PARADE'S GONE BY) has done his work here, and this is one of the best documentaries made so far. Keaton's genius is on full display here, and this history is so thoroughly stunning, fascinating, funny, and watchable that I've just run out of adjectives. Bears up tremendously under repeated viewings. One of two movies which I've noticed brings conversation to a halt in public and private, mesmerizing its audience (the other, funny enough, is THE KING OF COMEDY). Beautiful work.

I use the phrase "America's greatest director" not ironically, not unqualified, & not because I admire or otherwise favor silents over "talkies." I use it because I honestly think it's true. & this biography reenforces that belief more than anything I've seen or heard with the exception of actually seeing Keaton's movies. But sometimes you need something to get people to see these movies, movies which may seem quaint or curious to people used to hearing dialogue & sound effects. This documentary does it.

You see, Keaton UNDERSTOOD. Sometimes his movies are corny, sometimes they aim high & hit low, but mostly they're amazing. Mostly they happily present a very scrappy & sympathetic (but not perfect) protagonist & the many foul-ups & challenges he faces. He doesn't fret or moan but simply takes his beatings & tries again. Unlike Chaplin's main characters, Keaton's hero is very often the least important figure in the shot - because the effect is far more important than some kind of identification with the protagonist. Gags & foibles are fluid; nothing seems contrived or extraneous because so

much thought has been placed into each shot, each moment, to render everything crucial to the story. There's a reason that silent comedies are valued (in general) more than silent dramas: comedies speak more to the human condition, & the outrageous in a comedy is accepted where the theatrics & overemoting of a drama seems downright quaint. Keaton knew this. Keaton thrived within this.

How his career was cut short & reduced to nothing is documented here (I'm giving nothing away; volume 2 is entitled "Star Without A Studio") as well as his own problems with alcohol. I am especially suspectible to people who have a sense of the successes & failings of their lives & come to a grateful, gentle end; Keaton, like Harpo Marx, felt blessed by the chances he was given & modestly rated his own body of work. But listen: if you see this documentary, you'll want to see the movies, even if the documentary does show most of his most spectacular stunts. Because for Keaton, context was important: the star can be shown running at the bottom of the screen while a hundred cops chasing him take up most of it. So too can a single stunt, even the best stunt of a movie, make little sense without the context of the film.

Find this. Buy or rent this. Watch critically, note the precision of every scene, the skill with which they are composed & shot & carried out, & then seek out the originals. You'll compare them with your favorite films, you'll find that somewhere in the silent age of movies someone was actually an artist, someone making *comedy*, & you'll understand why people today mention Keaton in reverent tones.

I adore so much cinema, but I am always, always impressed by the skill of Buster Keaton.

"A Hard Act to Follow" is probably the best documentary of its kind that could have been made. Three hours isn't long enough to document everything about a man's life but it is long enough to give a touching picture of Buster Keaton as a person, and a thoroughly insightful impression of his peculiar brilliance as a comedian and filmmaker.

The use of old film of Keaton's work is extensive and done in exactly the way it should be. It's not just B-roll thrown randomly behind narration or interview audio. Clips selected for that kind of use illustrate what is being talked about perfectly, and are timed and sped or slowed with great precision, probably just as Keaton would have wanted them. Longer extracts do a marvelous job of illustrating his greatest comedy moments, and -- best of all -- film is slowed or enlarged in ways that really illuminate, sometimes in stunning ways, new things about the comedies that even somebody who had seen them dozens of times would not have known. This is one of this documentary's biggest strengths.

Rare footage of Keaton is very generous and aptly introduced too, including home movies, candid shots of his directing, television kinescopes, commercials he created, and lengthy interview material from the man himself.

Another thing that makes this documentary special, and the thing that makes it really irreplaceable, is that, made a not-astronomical 21 years after his death, it is able to include illuminating interviews with Keaton's third wife and other people who knew and worked with him during his lifetime (and they all seem to have a boundless affection for the man).

I think anyone appreciates Keaton's work should see this documentary, and it would probably be an excellent introduction for those who don't already. It's made with an enormous amount of insight, skill, affection, and apprehension.

This was an amazing documentary. Instead of the usual superficial and boring bio, it's jam-packed full of stories about the film making process and interesting anecdotes you'll hear no where else.

The show was presented in three 1-hour segments--going chronologically through his long career. One of the most memorable aspects was the film discussing his awful "bio-pic" (THE BUSTER KEATON STORY)--how it was mostly untrue and Keaton was not a hard-core drinker. Yes, he did have a drinking problem but it was short-lived and not a defining moment in his career.

Wonderful, thorough and lovingly made--an absolute MUST for fans of silent comedy.

FYI--Another similar project was created by the same writers for Harold Lloyd (AMERICAN MASTERS--HAROLD LLOYD, THE THIRD GENIUS) and Charlie Chaplin (UNKNOWN CHAPLIN). All three are terrific and must-see for fans of silent comedy!

This takes you from Buster's birth to death in about three hours and three installments with an emphasis on his body of work. It is unusual in that you get quite a bit of interview material from Raymond Rohauer, the man responsible for financially backing the restoration of Buster's films, destined for nitrate decomposition, in the 1950s. And you hear from Keaton himself throughout the documentary, in what looks like interview material that was largely done during the filming of "Buster Keaton Rides Again" made in 1964, two years before his death. Other prominent interviewees are his widow, Eleanor, who comments not only on the time she knew him but on what he had told her about earlier times. What's also insightful are interviews with some of the stuntmen and technicians who worked with him in his silent independent days and during his time at MGM. These aren't film scholars summarizing his work. All of these people actually knew the man.

It gets only a few things wrong. For one, Buster Keaton was not fired by MGM in person by Louis B. Mayer as a result of an argument between the two over his "party mobile" - a luxury motor home parked on the MGM lot. Instead, after "What No Beer?" opened, and was making good money, L. B. Mayer took advantage of the fact that Irving Thalberg was away convalescing due to a heart attack to fire Buster by telegram. And even that could have been patched up by Thalberg when he returned, but Buster demanded Mayer apologize. That was just not going to happen.

I'll also say that the Educational shorts Buster made in the mid 30s get short shrift here too. The documentary mentions "Grand Slam Opera", which in my opinion is brilliant. But some of the others are quite good even if you can tell they were rushed out the door.

Buster's humble but creative spirit comes through the entire documentary. For even as an older man, you can always see that fragile yet rambunctious spirit of his and the intense passion he had for his craft.