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One of the great masterpieces of cinema, Buster Keaton's "The General" combines inventive humor with terrific action and fine melodrama, all beautifully and carefully planned and photographed. It is filled with subtle and wonderful details that make it well worth devoting your full attention to watching. As an extra bonus, it offers a fascinating look at the Civil War era, with many realistic details, inspired by a historical incident.

After a short opening sequence, the movie divides nicely into two halves. Johnny (Keaton) is a railway engineer, turned down in his attempts to enlist in the Confederate Army and subsequently rejected by his girl. Continuing with the railroad, one day his locomotive is stolen by Union spies, who also kidnap his girl. Johnny first chases the engine into Union territory to recapture it, and then is himself chased by the Northern Army as he attempts to return home. Both chases are filled with excitement and manic fun, with some breathtaking stunts by Keaton thrown in. It all leads up to a dramatic and memorable climax that includes many ironic and suggestive touches.

Keaton is at his best, with the story offering him a perfect showcase for his many talents. His slapstick and acrobatic skills are given free rein, and his character's stoic perseverance is a fine complement to the frantic action.

This belongs near the top of any list of great films, a classic worth watching and re-watching.

Probably Buster Keaton's best film, and oddly enough, it's not even a straightforward comedy – it's actually an action film, with clever doses of romance and comedy tossed in for good measure. `The General', which is set during the Civil War, is about a train engineer named Johnny Gray (Buster Keaton, of course) who tries to enlist in the Confederate Army . . . and is turned down because the army feels he'd be much more valuable for the war effort as an engineer instead of a soldier. However, through a series of misunderstandings, both Johnny's family and his girl think he's a coward, and they refuse to speak to him until he becomes a soldier. Months pass, and Johnny, sad and alone, is piloting his train – the General – when it is stolen from him by the North. Johnny's efforts to recover the General – and to win back his girl's love – become an unbelievably funny and action-packed series of events, as Johnny tries to go from being a sad-sack buffoon to being a hero.

If you haven't watched many silent films, they demand a greater amount of attention than `normal' film – there are no audio cues; and volumes can be spoken with a simple facial expression. Buster Keaton is amazingly expressive, as he's fully capable of going from wildly happy to downtrodden and sad in the blink of an eye. While funny, Keaton is much more than just a clownish figure – he manages to evoke a lot of sympathy as well, and he genuinely becomes what can only be described as an action hero as well. His timing, whether for a joke or for a tender moment, is absolutely impeccable.

What's also great about `The General' is the sheer amount of stunts and physical humor – a movie like this couldn't be made today. No amount of insurance would cover it. Keaton does all his own stunts, and manages to perform a number of feats that are simultaneously hilarious and dangerous – he chases down `The General' with a bike, he sits on a moving cattlecatcher, knocking away railroad ties with a tie of his own. All these stunts are fantastic, but it's scary to think that any one of these probably could've killed Keaton if something even went slightly wrong.

`The General' is a lot more than slapstick. Personally, I think it's one of the first films to push the envelope of movies – it goes for action, romance, and humor, and it pulls all of those elements together into a terrific movie. If you've never seen Buster Keaton – or, for that matter, a silent film – go find this one and watch it. It's a classic. A+

No one will top Keaton for physical risk, and risk is what deep film experiences are all about. This might be classed as a comedy, but for me it touches deeply enough. Its about a man who needs to prove himself by taking risks and being true. And its by a man who takes even greater risks and is more true. True to the spirit of the social compact, here displayed as the chummy south.

He's always done stunts that amaze. Many of his other films have things in them that if the timing were only a little off, he'd be seriously injured, or die. But this takes the cake. Its almost as if he started with the idea that he'd have three locos to play with and had a year to think up stunts.

And the stunts are so physical! And so dangerous. And so, so very effective.

His trademark is the deadpan face placed as a sort of innocent cluelessness. Its particularly funny when you see the physical movements and you know that 1) they take incredible preparation and timing to pull off and 2) the fellow you see that looks so puzzled by the reality you see is the guy that devised and directed those stunts.

Ted's Evaluation -- 3 of 3: Worth watching.

Buster Keaton's "The General," about a man and his engine, puts you in a world where the most comically inventive situation that could happen will happen. From major comic situations to throwaway gags, "The General" always knows what to do.

The story begins in leisurely fashion. A title card tells us that Johnnie Gray (Keaton) has two loves in his life: his engine and his girl—respectively, The General and Annabelle Lee (Marion Mack). Johnnie goes to visit Annabelle, followed by two engineer-worshipping boys and, unknown to him, Annabelle Lee herself. He and his entourage arrive at the door; Johnnie polishes his shoes on the back of his pants legs, slicks back his hair, and gently taps the door with the door knocker. Then he turns to notice Annabelle. Keaton's understated reaction is a testament to his uniqueness. Any other comedian would have done an explosive double-take.

Now Johnnie and Annabelle are together in her parlor, but the boys are there, too. Johnnie stands up, puts on his hat and opens the door as if to leave. The hero-worshippers are ready to follow, but Johnnie lets them out first, then closes the door on them. This is a gentle ruse in the world of silent comedy. At Keystone both boys would have gotten kicked in the pants.

Now the two are alone. Annabelle's father sees them from another room and is about to break things up when her brother enters and announces that Fort Sumter has been fired upon: the War Between the States has begun. Annabelle kisses her father and brother as they go to enlist, then turns expectantly to Johnnie, who cocks his head like a confused puppy. She asks, "Aren't you going to enlist?" Realization hits him, and he leaps off the seat. Before he can run out the door, Annabelle kisses him. This so overwhelms Johnnie that he flings out his arm in a farewell gesture and falls off the porch.

Johnnie races to the general store, which is now a makeshift recruitment office. Taking a shortcut he manages to be the first in line. The door to the office is opened and Johnnie comes marching in—only he and the rest of the line go in two different directions, and he has to jump over several tables to get in front again. He gives the enlistment officer his name and occupation, but the man rejects him. Johnnie is more valuable to the South as an engineer. Later, Annabelle believes that Johnnie didn't even try to enlist. She refuses to speak to him again until he's in uniform. What follows is a classic moment: Johnnie sits on the connecting rod of his engine. He's so miserable that he doesn't notice when he starts moving up and down, until just before the train enters a tunnel.

Time passes and we learn that a group of Unionists are secretly passengers on The General. When (nearly) everyone is off the train having dinner, the Unionists climb back aboard and take the engine. Annabelle, a passenger herself, was still on board. She is now their prisoner.

But Johnnie only knows his beloved General has been stolen, possibly by deserters. He pursues the engine by taking another, The Texas. Through a mishap he becomes the sole person aboard The Texas, but the Unionists think they're outnumbered and continue to run. What follows is the true joy of the movie: two long chases (separated by an important plot twist). Now the movie changes its quiet pace for almost nonstop action.

I love it when the Unionists break off the rail car to hinder The Texas. At one point, the car, which Johnnie thought he had switched to another track, reappears in front of the baffled engineer, only to disappear later just as mysteriously. We see the logical circumstances that lead to the car's seeming magic act, and the equally logical situations that keep Keaton occupied, preventing him from seeing what we see.

Comic logic is important to "The General." In no other movie do hyperbolic slapstick gags seem so plausible and inevitable. In a throwaway gag, Johnnie empties a burlap sack full of shoes because he urgently needs the sack. Of course—of course!—he loses his own shoe in the pile and must stop to hunt for it.

We move to the second chase, where Johnnie has The General and the Unionists are the ones pursuing him. Now Johnnie must contend with Annabelle Lee.

Marion Mack leaves no mark of her personality on the screen. She deserves credit mainly for being willing and able to take it. Bette Davis and Katharine Hepburn were never thrown around, trod upon or knocked about the way Marion Mack was. She has hilarious moments. The excitement of the chase does not prevent her from taking out a broom to sweep the dusty floor of the engine. An exasperated Johnnie tells her to keep throwing wood into the fire. She takes a small stick and daintily puts it in. Johnnie sarcastically hands her a sliver, and she puts that in, too. Then, in a moment that has an audience roaring and clapping, Johnnie grabs her and half-throttles her before kissing her instead.

The final section, most of it a battle scene, includes the shot where The Texas begins to cross a burning bridge, only to crash into the river. Owing to Keaton's disdain of fakery (one of several reasons his works seem modern) he did not use a model but a real train on a real burning bridge. The crash cost $42,000—reportedly making it the single most expensive shot ever in a silent film.

A worthy closing gag was too taxing even for Keaton's ingenuity. Johnnie's dilemma is to kiss his girl while saluting the passing soldiers. His remedy is only mildly funny. Is anyone complaining? "The General" is a work of art and a work of genius.

It is "generally" (or should I pun and say "General Lee"?) said that the best comedy of the silent film career of Buster Keaton's career was his Civil War epic THE GENERAL. Apparently planned with more care than any of his other film projects, it involved not only researching a period of history some sixty years in the past, but getting the correct rolling stock, costumes, weapons, and props to make it look correct. And it worked so well that Keaton never really could (despite some great moments in STEAMBOAT BILL JR.) out-do it. In fact, the closest thing to his best sound film (or film that he influenced that was a sound film) was his work with Red Skelton in the comedy A SOUTHERN YANKEE, where he returned to a Civil War theme.

THE GENERAL (as I mentioned in discussing the Disney film THE GREAT LOCOMOTIVE CHASE) is based on the "Andrews Raiders" stealing of the Confederate locomotive "The General", and an attached train, which was used to damage tracks and bridges. The raid (in February 1862) was from northern Georgia into Tennesee. It only lasted 20 miles, as the coal for the train was used up and not replaced. Andrews and several raiders were hanged after a trial. Others went to southern prisoner of war camps. The effect of the incident far outstripped it's military success. The damage (after all) could be repaired. But like Jimmy Doolittle's Raid over Tokyo in April 1942, it had a tremendous effect hurting Confederate morale. The area attacked was hundreds of miles from the battlefronts of Virginia or Kentucky/Northern Tennessee that were in the current events of the War at the time, and so was considered safe by the Confederate government and public. Instead it had been shown quite easy for Northern raiders to hit and run for awhile.

Despite it being a brief incident of the war, the locomotive chase would remain famous after more important events were forgotten. The actual locomotive is still in existence in a museum in the south. When Lesney did it famous series of "Models of Yesteryear" the first locomotive that was included in that series of collectible toys was "The General".

The story, however, was ultimately a downer. But Keaton took the basic tale and made it a comedy of the period. First he changes the viewer's perspective - it is not concentrating on Andrews and his men, but on the Confederates. Secondly, he builds up the story of Johnny Gray, a railroad engineer who tries to enlist but is rejected (the twist of logic failure in the script is that the Confederate draft board head does not bother to explain to Johnny that he is more useful as an engineer to the cause than as a soldier). Because Keaton's family and girl friend (Marion Mack) see he is not enlisted, they believe he turned coward.

Johnny eventually is the only person who tries to retake "the General" from the raiders, and the film has actually two chases in it - first Andrews and his men stealing the train, and then Keaton sneaking into Northern lines with Mack and retaking it.

Along the way are many comic classic moments, such as Keaton carefully standing on the cowcatcher and carefully using physics to knock off broken wooden ties that might derail the train, or when (at a moment of dejection) Keaton sits on the connecting rod that links the trains wheels and finds himself pulled into the locomotive barn while in a sitting positions. The situation of fighting the Yankees during the second chase, and finding Marion Mack there "helping" him, are wonderful - especially when she judges which lumps of coal are pretty enough to be used to keep the engine fired (she throws away the ugly little ones). Keaton's reaction to her stupidity is a wonderful moment.

The classic conclusion of the comedy is the battle of the two sides at the river, and the burning of the railroad bridge (with it's destruction of a second locomotive). It has been called the most expensive sight gag in history. By the way, the Northern General who ordered the locomotive across the bridge is of some special interest. He was Mike "Turkey Strut" Donlin, a frequent member (and starring player) of the old New York Giants under John McGraw and Christy Matthewson in the first two decades of the 20th Century. Donlin (who got his funny nickname from the way he ran the bases) left baseball to become a film actor (he had worked a bit in vaudeville). Keaton was a sports fan (and showed this in his film COLLEGE, where he shows his abilities in several sports) and hired Donlin. This was the latter's most famous performance - look at his reaction to the collapse.

It must be regarded as Keaton's finest film, and certainly the best war comedy to come out in the silent period. It may also be the best war comedy to come out of any period of motion pictures.