Parlor, Bedroom and Bath

If you ignore that this film is part of the downhill slide Buster Keaton's professional life is experiencing at the hands of MGM, this is a rather enjoyable example of a pre-code farce, particularly the last half of the film that is set at the hotel. The first half is rather slow and clumsy, and has a rather unbelievable premise - a wealthy young woman, Angelica, is only attracted to womanizing cads, and furthermore only wants to marry such a man. Normally, this would just be her problem, but her younger sister wants to marry, and due to custom cannot until the older sister does so. The younger sister's fiancée enlists Buster's character, Reggy, to play the part of international playboy and hopefully future husband for Angelica since Reggy is quite attracted to the older sister, but is completely inexperienced with women.

The second half of the film is the amusing part. It's set at a hotel where Buster is supposed to have a prearranged rendezvous with a woman and be discovered by Angelica, thus sealing his reputation as a cad and stealing her heart. Unfortunately, Buster takes the wrong woman to the hotel - and she's a woman who happens to have an insanely jealous husband. The woman Buster is supposed to meet, Charlotte Greenwood, is the funniest part of this film. She literally steals the "training session" scene she has with Buster. Cliff Edwards has some funny lines too as the hotel bell boy who keeps walking in on Keaton who is always in the embrace of a different woman each time.

It's just so sad to see MGM casting Buster once again as a clueless bumbling fool and doing their best to make it look ridiculous that Buster could ever be considered a ladie's man. Keaton does the best he can with the material he is given, but it makes you wonder what could have been if anyone had listened to his ideas about making comedies in the sound era.

As for film quality, I have never seen a copy of this film that was not unacceptably fuzzy. The only one I'd recommend is the copy that comes with "Industrial Strength Keaton". That copy has been restored and it shows. Plus it has a commentary track and there is a featurette included about Keaton's mansion, the Italian villa, which is the setting for the first half of this film.

Charlie Chaplin, Harold Lloyd and Buster Keaton were the top comedy actors of early filmdom, each with his own characteristic persona. And, among all of the early and later comedians, none played a better dumb straight face role than Keaton. Not until Peter Sellers came along was there another actor who could so well mix straight face with buffoonery, slapstick, screwball antics and clever - but ever so short, lines.

Keaton proved to be as good in the talkies as he had been in the silent movies. But for the stripping of his creative freedoms in new contracts after the advent of sound, he might have given us many more years of great comedic roles. Thankfully, recent generations are coming to see the genius and talent of this great entertainer.

It is tempting, as some reviewers have alluded, to judge Keaton mostly on his slapstick scenarios, which were often so prominent in his best silent films. But, Keaton was so much more than falling down comedy. And he continued to show his broader genius into his first talkies, as this film shows - even as the studios kept imposing more and more strictures that would eventually relegate him to small and then bit parts. When given good scripts and a fine supporting cast with good roles, Keaton and company could make smashing comedies. This is one such film, with Reginald Denny, Charlotte Greenwood and some others helping build the comedy.

In Parlor, Bedroom & Bath, we see Keaton at his deadpan best. Just listen, look and laugh. How anyone can watch this film and not howl during a good half dozen segments is beyond me. The film itself is wacko from the start. So, put the best wacko actor of the time in it and all you have is a great laugh vehicle to enjoy time and again.

PB & B pokes fun at a lot of aspects and stations of life. The rich and trivial, success and workaholics, glamor and the plain, marriage and love, fidelity and infidelity - all get a little treatment with humor and slapstick. It's too bad for those few folks who may have watched this film and just don't know how to laugh. Sometimes, we have to look for the genius and great in the simple. And there's plenty of that in this film. I wish all who watch it anew the same or more laughter from the head and the heart that I have had.

Here are some favorite lines from this film. This IMDb page for the move has many more under the Quotes section.

Jeffrey Haywood, "I'll tell you what I'll do. I'll marry Angelica myself." Virginia Embrey, "What?" Jeffrey, "Yeah, and then I'll poison her and marry you." Virginia, "Where are you going? Jeffrey, "Where am I going? To get the poison."

Jeffrey Haywood, to Reginald Irving, "I might fix it so she could be the mother of your children." At that, Reginald faints.

Jeffrey Haywood, "Listen, Polly, we've always been good friends, haven't we?" Polly Hathaway, "Yes. But you're scaring the friendship out of me."

Reginald Irving, offering to pay the farmer for their ride to the hotel on his hay wagon after their car lost a wheel, "How much do I owe you?" Hay wagon driver, "Ya think two dollars would be too much?" Reginald, "Yes." Wagon driver, "Well, then give me a dollar."

Polly Hathaway, "You have all the passion of an infuriated clam."

I have to agree with other commenters that this was a poor choice of films for Buster Keaton. The early part of the film is disappointing, as it provides Keaton with no opportunities to do the amazing physical stunts he's rightly famous for. I found it dismaying to see Keaton, who flipped over the rigging in "The Love Nest" and made the clotheslines his playground in "Neighbors" deflated by a half-slack garden hose.

But the hotel sequence, in which an amazonian blonde tries to teach Keaton's pathologically girl-shy character to be a real Casanova, turns things around. "Buster Keaton" and "screen kiss" are two ideas that don't seem to go that well together, but Keaton turns the combination into something that's purely his. Like the climax of "Steamboat Bill Jr.", Keaton's character finally seizes control of a situation where he's previously been a victim of circumstance. Suddenly he figures out how this works and charges ahead in his own unorthodox, exuberantly acrobatic way. And that moment is worth waiting for.

This is a great film that is very funny especially once it gets going. The premise is that an engaged couple wants to wed but can't do so until the girl's older sister does so (they don't want her to appear to be an old maid). The sister is having a hard time finding anyone to marry because she insists her husband be a great lover (and have great other things, as a sly comment as one dumped suitor comes out of the swimming pool implies). Into this madness comes Buster Keaton who is run over accidentally by the fiancé. Sensing an opportunity, the fiancé begins to spread the rumor that Keaton is a great lover. Soon not only the "old maid" sister, but every other woman in the area is pursuing Keaton.

Keaton was a master comedian and it really shows here. I'm just floored that this, like many of his other sound films aren't better known, since Keaton really did manage to keep the laughs coming for over 50 years in the movies. This is a perfect example of the good stuff he did that most people don't know about. This is a very funny comedy full of wicked pre-code japes as well as typical Keaton style physical gags. I put this film on expecting to smile here and there and instead found myself chuckling steadily through out.

Recommended to anyone wants to see a good screwball comedy with more than a few risqué moments.

Surprisingly funny for one of Buster Keaton's widely derided MGM talkies. Meek little Buster is built up as one of the world's great lovers, part of a plot to marry off a society dame and clear the way for her younger sister's nuptials. Hijinks ensue in this romantic farce.

Buster may not be doing the incredible stuntwork that made him famous in the silent era, but his lovable persona and physical comedy fit well with the rest of the ensemble in this film. Buster's always fun to watch, and here he's surrounded by a handful of lovely ladies, as well as the inimitable Charlotte Greenwood and familiar character actors Cliff Edwards and Edward Brophy. Greenwood's tall and lanky physical shtick is a great match for Keaton, and their scenes are fun. The extended hotel room scene is a riot, as Buster confusedly practices his seduction technique on several unsuspecting women.