IMDb रेटिंग
7.7/10
5.3 हज़ार
आपकी रेटिंग
अपनी भाषा में प्लॉट जोड़ेंA series of adventures begins when an accident during photographing causes Buster to be mistaken for Dead Shot Dan, the local bad guy.A series of adventures begins when an accident during photographing causes Buster to be mistaken for Dead Shot Dan, the local bad guy.A series of adventures begins when an accident during photographing causes Buster to be mistaken for Dead Shot Dan, the local bad guy.
- निर्देशक
- लेखक
- स्टार
Malcolm St. Clair
- Dead Shot Dan
- (as Mal St. Clair)
Kitty Bradbury
- Police Chief's Wife
- (बिना क्रेडिट के)
Edward F. Cline
- Cop by Telephone Pole
- (बिना क्रेडिट के)
Jean C. Havez
- Minor Role
- (बिना क्रेडिट के)
Joe Keaton
- Minor Role
- (बिना क्रेडिट के)
Louise Keaton
- Minor Role
- (बिना क्रेडिट के)
Myra Keaton
- Minor Role
- (बिना क्रेडिट के)
फ़ीचर्ड समीक्षाएं
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.
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!
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!
I hardly know where to begin in writing about this gem, except to say that it represents young Buster Keaton at the peak of his powers and must certainly rank with the half-dozen best short comedies ever made. The Goat is twenty minutes of smoothly paced, expertly photographed, beautifully executed gags; two reels of non-stop comic invention driven by an intense undercurrent of paranoia and yet somehow leading to a happy ending -- which wasn't always the way with Buster's short comedies. (See Cops for one case where Fatalism ultimately got the better of him, or One Week for the victory of Defeatism.) If I had to describe the tone of this film in one word I'd call it "effortless," but if I were permitted a qualifier I'd call it "seemingly effortless," for surely a lot of hard labor goes into the making of any comic opus that unfolds with such sublime ease. Still, they didn't call him the Great Stone Face for nothing: Buster never let the public see him sweat.
A sardonic title card tells us that our opening sequence is set "along Millionaires' Row," i.e. on a bread line in a grim urban setting, where Buster waits patiently at the back of the line and, as a result, doesn't get fed. But it needs to be emphasized that not for one moment does he play for pathos; Buster has our sympathy, but he never asks for it. Before long, through a series of accidents, coincidences and absurd misunderstandings, Buster is believed to be an escaped killer named Dead Shot Dan and is being pursued by every cop for miles around, and yet while he's clearly dismayed by this turn of events there is never a hint of self-pity or even surprise. We get the sense he always knew that this is what life would have in store for him, and that he hasn't time to feel sorry for himself anyway, as he has to figure out new ways to dodge all those cops and escape from the latest trap.
Just as Buster refrains from playing for sympathy he never seems to strain for laughs either, which is especially impressive because The Goat must be one of the most laugh-packed short comedies in existence. This is the film containing that iconic shot of Buster riding a train's cow-catcher right up to the very lens of the camera, which isn't a gag exactly but sure is laugh-provoking in its own strange way. Meanwhile, there are bits involving guns, dogs, cops, an incredibly furry mustache, and a clay statue of a horse that melts under Buster's weight (a surreal sight indeed), but some of the biggest boffos are saved for the finale when Buster is trying to elude his primary nemesis, Big Joe Roberts, a rotund cop who also happens to be the father of leading lady Virginia Fox. Trapped in Big Joe's dining room, Buster leap-frogs over him and sails through a transom, turns a phone-booth into an elevator and pretends to disappear, and eventually uses the elevator itself to rid himself of his pursuer and win the girl in time for one last fade-out gag.
To say more would be a disservice to first-time viewers. I only wish I could see this film in a theater full of people who'd never seen it before, and float on the laughter. Live musical accompaniment would be nice too; and incidentally the musical score supplied by Kino for their home video/DVD version of The Goat is first-rate, serving as icing on an already tasty cake.
A sardonic title card tells us that our opening sequence is set "along Millionaires' Row," i.e. on a bread line in a grim urban setting, where Buster waits patiently at the back of the line and, as a result, doesn't get fed. But it needs to be emphasized that not for one moment does he play for pathos; Buster has our sympathy, but he never asks for it. Before long, through a series of accidents, coincidences and absurd misunderstandings, Buster is believed to be an escaped killer named Dead Shot Dan and is being pursued by every cop for miles around, and yet while he's clearly dismayed by this turn of events there is never a hint of self-pity or even surprise. We get the sense he always knew that this is what life would have in store for him, and that he hasn't time to feel sorry for himself anyway, as he has to figure out new ways to dodge all those cops and escape from the latest trap.
Just as Buster refrains from playing for sympathy he never seems to strain for laughs either, which is especially impressive because The Goat must be one of the most laugh-packed short comedies in existence. This is the film containing that iconic shot of Buster riding a train's cow-catcher right up to the very lens of the camera, which isn't a gag exactly but sure is laugh-provoking in its own strange way. Meanwhile, there are bits involving guns, dogs, cops, an incredibly furry mustache, and a clay statue of a horse that melts under Buster's weight (a surreal sight indeed), but some of the biggest boffos are saved for the finale when Buster is trying to elude his primary nemesis, Big Joe Roberts, a rotund cop who also happens to be the father of leading lady Virginia Fox. Trapped in Big Joe's dining room, Buster leap-frogs over him and sails through a transom, turns a phone-booth into an elevator and pretends to disappear, and eventually uses the elevator itself to rid himself of his pursuer and win the girl in time for one last fade-out gag.
To say more would be a disservice to first-time viewers. I only wish I could see this film in a theater full of people who'd never seen it before, and float on the laughter. Live musical accompaniment would be nice too; and incidentally the musical score supplied by Kino for their home video/DVD version of The Goat is first-rate, serving as icing on an already tasty cake.
Having missed out on the bread line, Buster accidentally gets his photograph taken by mistake by a man taking a photo of notorious criminal Dead Shot Dan. When Dan escapes, Buster finds himself mistakenly identified as the dangerous wanted man and even when he flees the police to another town, wanted posters are already ahead of him and he finds his troubles are only beginning.
BBC4 has just started a series with Paul Merton on silent comedy heroes and his first subject was Buster Keaton. The programme itself was an interesting mix of clips but the real gold was in the fact that it brought this short film in its entirety to primetime television (albeit on a small digital channel). The short opens with an unlikely setup but quickly gets past it by virtue of the sheer quality inherent in the comedy rather than the story-telling, which, being honest, is what we've come here for. True to form the comedy is creative and slightly surreal with a great mix of slapstick and wit. I found myself laughing out loud even though I wasn't really in the mood for comedy (I was more in the mood for Solaris, which I watched later the same evening).
Keaton is on great form and does so much while keeping a straight face; those who dismiss his performances as just falling down simply have no idea what they are talking about and I wish them well as they watch their next crude teen comedy at their multiplex. His support cast are good in regards their physical performances but some of them really overdo their face movements not so much on the double takes (which need impact) but more on the other aspects where they appear hammy. Of course playing opposite Keaton even Mount Rushmore could be accused of overdoing the facial movements, such is his way.
Overall a great little short with an unlikely plot that is more than covered up by a hilarious and inspired onslaught of physical comedy delivered with skill, imagination and wit.
BBC4 has just started a series with Paul Merton on silent comedy heroes and his first subject was Buster Keaton. The programme itself was an interesting mix of clips but the real gold was in the fact that it brought this short film in its entirety to primetime television (albeit on a small digital channel). The short opens with an unlikely setup but quickly gets past it by virtue of the sheer quality inherent in the comedy rather than the story-telling, which, being honest, is what we've come here for. True to form the comedy is creative and slightly surreal with a great mix of slapstick and wit. I found myself laughing out loud even though I wasn't really in the mood for comedy (I was more in the mood for Solaris, which I watched later the same evening).
Keaton is on great form and does so much while keeping a straight face; those who dismiss his performances as just falling down simply have no idea what they are talking about and I wish them well as they watch their next crude teen comedy at their multiplex. His support cast are good in regards their physical performances but some of them really overdo their face movements not so much on the double takes (which need impact) but more on the other aspects where they appear hammy. Of course playing opposite Keaton even Mount Rushmore could be accused of overdoing the facial movements, such is his way.
Overall a great little short with an unlikely plot that is more than covered up by a hilarious and inspired onslaught of physical comedy delivered with skill, imagination and wit.
'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.
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.
क्या आपको पता है
- ट्रिवियाThe film was restored in 2015 through Lobster Films, a process partially funded through a Kickstarter crowdfunding campaign.
- कनेक्शनEdited into The Golden Age of Buster Keaton (1979)
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