Chi la dura la vince

Now that was actually good -- I could stand to watch a lot more of those!

The last thirty seconds or so form a too-convenient "eh?--what?" conclusion, the initial set-up is slow, and Jimmy Durante seems to have wandered into a rather pointless supporting role from another movie altogether; but for the first time in talkies we have Buster back as of old -- alert, expressive, and ever-so-slightly bemused as his life unexpectedly intersects with that of a flighty socialite who is the target of a cad -- and the return is worth celebration. It will take all his trademark patience, agility and ingenuity to fulfil the contract to protect his new 'employer' both from her would-be seducer and from her own weaker moments... but "Maybe some day you'll be glad I was here," he tells her with a touching stubbornness, and true to his word it is he who contrives the final confrontation.

In a sense this is just as much farce as was "Parlor, Bedroom and Bath": but the script is better, the supporting cast is much better, and Keaton himself more than holds his own where both dialogue and speaking glances are concerned. He may be playing another 'Elmer', but his character here is a far cry from the pathetic buffoon of his first speaking role in "Free and Easy"; Elmer Tuttle, plumber and inventor, may be out of his element in Miss Patricia's social circles, but he is full of resource and determination, and no helpless puppet. The result, predictably, is far more effective -- when Reggie Irving's head nestles on a concerned female bosom, it is through mere ineptitude, but when Buster here avails himself of the same proffered rest in the aftermath of the duel, it is a visible decision to take full advantage of the opportunity! And as ever with Keaton, many of the most hilarious moments are unspoken. His ever-helpful provision of ammunition to the incensed ladies as events catch up with Tony, a scene which had me in stitches; his attempt to conceal a ridiculously fluffy lap-dog in his pocket, with the whole surreal episode the supremely logical culmination of many earlier plot twists, a set-up worthy of any of his silent features; the arrival of Aunt Charlotte, and his inspired solution to the crisis; and of course the whole duel sequence.

The entire production, from script to sight-gags, is somewhat reminiscent of the classic "Carry On" comedies of the 1960s -- and as a longstanding fan of the latter I mean that as nothing more than a thoroughly-going recommendation. It's very easy to mentally substitute Sid James into the Durante role (arguably an improvement...), Joan Sims as Patricia, and Hattie Jacques as Aunt Charlotte, and oddly enough Buster seems entirely at home in such company. But what I hadn't realised is that the actual duel sequence in the Scarlet Pimpernel spoof "Carry On Don't Lose Your Head" -- including the hero's famous offer "You have the swords, I'll have the pistols" -- is a direct homage to this film; Buster, of course, did it all first.

"The Passionate Plumber" is a true sound comedy, adapted from a stage property, but in addition it's a genuine Keaton movie in ways that "Speak Easily" or "Parlor, Bedroom and Bath", for example, are not. The MGM talkies tend to treat physical comedy as the lowest form of humour, utilising pratfalls, entanglements with scenery and general bumbling to milk the audience for routine, predictable laughs. In this film, for the first time since "Doughboys" and with more consistent results, we see the return of Keaton's own unexpected inventiveness, with the 'Aunt Charlotte' scene as perhaps the most memorable example: in a standard farce, Elmer would be hiding in a creaking cupboard or frantically climbing out of a window at this point, but it wouldn't get one-half the laugh that Keaton's straight-faced expedient does, not to mention the inspired improvisation that follows.

For once, we have Buster back in problem-solving mode, overcoming obstacles and pitting his wits against the world, and it's enough to bring a whole extra sparkle for this viewer at least. He has, of course, fallen in unspoken love with the leading lady -- but that certainly doesn't mean he's going to allow her, or anyone else, to walk all over him! Competent, coherent characters always seem to suit his style better than witless stumblers, producing superior comic results, and this film simply reinforces the point; it isn't a run-of-the-mill MGM picture, and it's distinctly funnier for it.

Keaton himself apparently didn't feel that either the film or the role were right for him. As in, famously, the case of "The High Sign" -- which he actually suppressed from initial release as substandard -- I honestly believe that in this case he was wrong: much of the film depends entirely on his interpretation, many of the laughs derive directly from his reactions and timing, and the material provides opportunity for the full range of his talents. And above all, it had me laughing by the end with the sort of helpless delight I haven't experienced from any of his other sound productions...

THE PASSIONATE PLUMBER (Metro-Goldwyn-Mayer, 1932), a Buster Keaton production directed by Edward Sedgwick, stars Buster Keaton in his second "farce" comedy, the first being PARLOR, BEDROOM AND BATH (MGM, 1931). With screen adaptation by Laurence E. Johnson, and uncredited material lifted from the play "Her Cardboard Lover" by Jacques Deval, THE PASSIONATE PLUMBER, its new title, certainly improves over Keaton's previous screen sound efforts for MGM (1930-33). Though not quite a cinematic masterpiece as one could have hoped for, it's basic flaws tend to be placed on certain gag and story material as being undeveloped with resolutions left unresolved. Overlooking these minor aspects, the finished product generally blends in nicely with its basic comedy premise, even for Keaton.

Set in Paris, France, with the Arch of Triumph captured in full view for its opening, the story introduces Julius J. (J. for Julius) McCracken (Jimmy Durante) coming to Paul Le Maire's (Paul Porcasi) shop in need of a plumber for his employer to fix a leak in the shower. Julius gets Elmer E. (E. for Elmer) Tuttle (Buster Keaton wearing beret), an American from Yonkers, working on his latest experiment, a spot shooting pistol. After these strangers get introduced, next scene has Elmer escorted into the mansion of socialite Patricia Alden (Irene Purcell) where he goes to work on her shower. In the meantime, plot development introduces Alhine (Polly Moran), the household maid whom McCracken is crazy about, and how much Miss Alden is crazy about Tony Lagorce (Gilbert Roland), a handsome gigolo, whose Spanish speaking wife, Nina (Mona Maris), refuses to grant him a divorce. Unaware to Miss Alden, Tony is actually carrying on a romance with Nina, using Patricia as his excuse for a wife, too, refusing to grant him a divorce. Hoping to make Tony jealous, Patricia hires Elmer as her lover decoy, or better yet, her passionate plumber, resulting to a series of mishaps for all concerned.

Previously filmed at the tail-end of the silent era as THE CARDBOARD LOVER (MGM, 1928) starring Marion Davies,and Nils Asther, and remade again as HER CARDBOARD LOVER (MGM, 1942) starring Norma Shearer and Robert Taylor, the Keaton carnation proves most interesting due to how its writers revamped a sophisticated comedy to fit with the opposite comedic talents of deadpan Keaton and over zealous Durante. Though their characters start off as complete strangers, only minutes into the story does it give the impression of they being lifelong pals. Even before the store comes to the halfway mark is it forgotten that Keaton's character is a plumber. It's a wonder if he ever got to finish fixing the shower and make up the bill for his time?

Of the several comedy highlights, including Keaton's gambling mishap at the Casino de Paris and the gigolo's attempt of keeping his two mistresses from getting together, the best known and/or most admired happens to be the dueling sequence between Keaton and Roland, with Durante in amiable support. Though it has its moments, it's obvious how this burlesque style pistol dueling would be recycled by future comedians as Bob Hope, Danny Kaye, or even one of the Three Stooges as prime examples. Keaton's frequent glove slapping Frenchmen to duels and correcting those who constantly mispronounce his last name, along with Mona Maris' constant Spanish speaking outbursts (done more favorably by Mexican actress Lupe Velez in later years) to Mexican born Gilbert Roland in saying in her accented English, "If you could only speak Spanish," are agreeable run-on gags. It's also a wonder how Velez might have handled such similar scenes had she been selected to play the spitfiring wife instead of Maris?

Others featured in the cast are Maude Eburne (Aunt Charlotte); Henry Armetta, Jean Del Val and Edward Brophy (Keaton's frequent co-star during his MGM years) in a cameo appearance as the man outside the beauty parlor. Irene Purcell, a not so well known actress with so few movies to her credit, makes an acceptable foil for Keaton's buffoonery. Closely resembling Joan Blondell in physical appearance and Genevieve Tobin in both mannerism and speech, she takes part in some good scenes involving Keaton, one where she gets served breakfast in bed (in the silent film tradition with limited dialog), and another where she constantly tries losing him so she can have a secret meeting with her lover. Polly Moran, better known for her screen partnership opposite Marie Dressler, has some funny bits here, too, few and far between, but mostly with Durante.

As much as Keaton and Durante are as compatible as Stan Laurel and Harpo Marx, MGM would pair them again in SPEAK EASILY (1932) and WHAT, NO BEER! (1933) before ending their screen partnership. Virturally forgotten over the years, this and other Keaton MGM comedies can be seen and studied whenever broadcast on cable television's Turner Classic Movies. Keaton's Elmer may not be the greatest plumber in Paris, but certainly is passionate, in a funny sort of way. (***)

...just like in his silent days. Unlike most of his MGM talkies, here he is not cast as the hapless bumbling butt of jokes, but instead he shows grace under pressure and ingenuity when in a tight spot.

This was the first of his three teamings with Jimmy Durante, and even that odd pairing doesn't distract too much from the film's enjoyment. Keaton here is playing Elmer Tuttle, who for some unexplained reason is an American plumber choosing to live in Paris. He enters the story as chauffeur Julius (Jimmy Durante) has been tasked by his employer to find a plumber to repair a leaky shower, and Elmer is the lucky plumber chosen for the job. Julius' employer is Patricia Alden (Irene Purcell), also an American living in Paris, who is trying to pull herself away from her married lover Tony (Gilbert Roland) since she sees there is no future in the relationship.

Patricia decides to drive the proud Tony away by claiming that Elmer is her lover, and she also hires Elmer to make sure she doesn't give in to temptation and go crawling back to Tony. The problem is, shortly after she gives Elmer the job she decides to go back to Tony, but Elmer won't take "you're fired" for an answer. He protects her in spite of herself. Keaton shows that old inventiveness at every turn here. When he needs money to rent formal attire to get into a Paris night spot he finds a way to make the night spot pay for it, every time Patricia thinks she has lost Elmer and is on her way back to Tony, Elmer finds a way to outsmart and stop her, and finally when Patricia's aunt Charlotte comes to visit and Patricia is afraid of what she'll think if she finds a man - Elmer - in her room, Keaton hilariously turns his plumbing toolkit into a doctor's bag and makes aunt Charlotte believe he is Patricia's physician.

Some of the plot lines hit unexplained dead ends and the ending for sure doesn't make much sense, but yet I find myself pulling this one out and watching it pretty often just because it is a good example of the old Keaton magic at work.

The Passionate Plumber (1932)

** (out of 4)

Decent MGM comedy has Buster Keaton playing a dim-witted plumber in Paris who gets involved with a woman (Irene Purcell) who wants him to pretend to be her lover so that she can drive her boyfriend (Gilbert Roland) crazy with jealousy. There's no question that Keaton will go down in history as a genius but it's also a fact that he sadly appeared in some really bad movies after his golden age in the silent era. His time with MGM makes most fans cry because of the quality of some of the sound pictures but this one here isn't quite as bad as others and I think it has some good laughs throughout. The story itself is rather weak as the only thing it has going for it is a set-up with Keaton constantly not understanding the situation he's in. The screenplay tries to aimed towards Keaton's abilities and this is why you see some more physical stunts including the actor falling down steps, tripping over himself and we even get a funny bit where he tries to show off a new gun that he's invented to someone he shouldn't be pulling it out on. The entire bit at a party where Keaton once again finds himself in trouble contains some of the biggest laughs and especially the stuff when people mistake him for an assassin. Another funny bit is something most will probably consider silly but it had me laughing from start to finish. There's a running gag with Keaton slapping people with a glove and no matter how many times they repeat it I couldn't help but laugh. Keaton gives a lot more energy here than in his previous few films with the studio and I think Purcell makes for a good co-star. Jimmy Durante smugs his way in each scene he's in but he gets a couple good jokes with most of them aimed at his nose. THE PASSIONATE PLUMBER certainly isn't going to make you forget THE GENERAL but it's a decent time killer.

Out of all of Keaton's MGM sound films, The Passionate Plumber (1932) is the only one I actually laughed at. It's no riot, but it's The General (1926) compared to all that other garbage MGM forced upon Keaton in the 30s.

The story is very pre-code: Keaton plays an American plumber living in France. A socialite (Irene Purcell) discovers her lover (Gilbert Roland) is carrying on with another woman (Mona Maris), so she hires Keaton to make Roland jealous. Most of the movie concerns Keaton trying to keep her away from Roland, whom she simultaneously hates and lusts after.

Thank God above, Buster does not play an idiot! He's still socially awkward and a little lost, but his character is allowed to be clever, resourceful, and sarcastic. The physical comedy is actually inspired too, rather than tacked on (see the painfully bad slapstick during the check-in scene of Parlor, Bedroom, and Bath (1931)).

Much of the supporting cast is completely over the top and annoying. Irene Purcell and Mona Maris screech and howl. Jimmy Durante works best in small doses, which is luckily how he is here. Gilbert Roland works best when he isn't hamming it up to Mars, which unluckily, he does in a number of scenes.

Fortunately, the supporting cast, while not always pleasant, is not terrible enough to kill the movie. If you've lost all hope after Free and Easy (1930) and What! No Beer (1933), then give this one a try.