O Enrascado

Buster Keaton's "Cops" is a very funny and very well-crafted short comedy with a wide range of comic material, ranging from subtle timing gags to hilarious slapstick, and featuring some impressive choreography as well. It takes a short while to set everything up, and then it is very humorous the rest of the way. Keaton's character is involved in a series of misunderstandings at the beginning of the film that eventually lead to him driving across town in a rickety carriage filled with things that don't belong to him. Soon he is being pursued by (literally) every policeman in the city. There are plenty of laughs from Keaton's own comic skills, and a lot of large-scale chase scenes that are carefully filmed and very entertaining.

This is a movie not to be missed for anyone who enjoys silent comedies.

Arguably Buster Keaton's finest two-reeler, Cops is the perfect distillation of the appeal of this gifted artist. One cannot help but feel great sympathy for the lead character, all the while laughing at his unfortunate circumstances. Yet in the midst of being suckered out of his (stolen) fortune and finding himself wrongly suspected of an act of terrorism, Buster never for a minute expresses a hint of self pity. He brilliantly deals with the circumstances as they unfold while his face exudes a calmness and confidence that seem quite contradictory to the madness that surrounds him. See how he calmly handles finding himself in the middle of a giant parade of police officers and how he nonchalantly lights his cigarette with a terrorist's bomb. The audience breathlessly tries to keep up with Keaton as he navigates an obstacle course strewn with hundreds of well-choreographed cops. With impeccable timing he seems to improvise his way through it using the many tools available to him, most notably his quick wit. Every second of this film is wonderfully entertaining. The ending is typical Keaton - satisfying and very funny. This is the perfect introduction to Buster Keaton and silent films in general.

COPS (First National, 1922), written and directed by Buster Keaton and Eddie Cline, presents deadpan comedian Buster Keaton in one of his most entertaining and true classic comedy shorts ever produced for the silent screen. Not quite a tribute to the police force in general, COPS is somewhat reminiscent to the Mack Sennett day of "Keystone Kops" that starts off pure and simple, building up to a great big police chase after poor innocent Buster.

Although famed magician Harry Houdini is not in this photo-play, he gets to have his quote, "Love laughs at locksmiths" as its opening title. Next scene introduces Buster in traditional pork-pie hat as a hapless failure who attempts to make good as a successful businessman for the sake of the girl (Virginia Fox) he hopes to marry. Through no fault of his own, trouble always seems to follow him wherever he goes. After finding a wallet on the street, he attempts to return it to its rightful owner (Joe Roberts) having taken off in a taxi. By the time the owner realizes his wallet is gone, he has the driver turn back. He retrieves the wallet but finds the money gone, and Buster as well, who has taken off in the man's taxi. Later spotted by a con-man, Buster is duped to buying his furniture by giving him a sob story about being evicted when in fact the furniture rightfully belongs to a family man about to move to a new location. Mistaken as the mover, Buster has the man's possessions placed on a horse cart and given the address (4 Flushing Place) where his things are to be sent. After having some horse trouble, Buster unwittingly makes the wrong turn on the street where the annual Policeman's Day Parade is taking place. Trouble lurks, leading to a confusion and a chase around the city between Buster and the thousands of men in blue ("Get some cops to protect our policemen"), particularly one who happens to be the owner of the misplaced furniture.

Next to Keaton's earlier effort, ONE WEEK (1920), COPS is a masterpiece that continues to generate laughter. The plot is slight, and like his contemporary Charlie Chaplin, the gags are generous, carefully planned, timed and staged, making this two-reeler (20 minute) comedy move at a very fast pace. Robert Youngson, producer of great compilation films of THE GOLDEN AGE OF COMEDY (1957) and DAYS OF THRILLS AND LAUGHTER (1961), used highlights of COPS into his excellent presentation of WHEN COMEDY WAS KING (1960). During the 1970s, COPS turned up occasionally on public television, notably in "The Silent Comedy Film Festival" that aired on WNET, Channel 13 in New York City around 1973, accompanied by piano score. COPS was later used for its concluding 20 minutes to another PBS series, "Sprockets" in the 1980s, following its presentation of Buster Keaton's feature length comedy, STEAMBOAT BILL Jr. (1928). The print of COPS used in "Sprockets," included a different piano accompaniment than the one heard in the 1970s, but missing few minutes of footage midway as Buster takes his slow moving horse to Dr. Smith Goat Glan Specialist to later come out in full speed. Also in the 1980s, known as the dawn of home video, a complete VHS copy of COPS became available through Blackhawk Films (The Killian Collection) with organ score by Gaylord Carter, double featured with another Keaton's short, THE BLACKSMITH (1922).

COPS is one of those comedies that would make a great introduction of Keaton's work to film students. Could a film like COPS ever lose its appeal? The answer is yes, though through no fault of Keaton nor the movie itself. What could make COPS unbearable to sit through would be to have it accompanied by poor music score. While Turner Classic Movies holds a great record for its dedication of motion picture history, ranging from restoring prints and resurrecting long forgotten silent movies with new scores, some great, others satisfactory, COPS, along with other Keaton silents on TCM, have sadly become the victim of very poor scoring, taking away Keaton's achievement to great comedy. Had Keaton's films been fortunate as the Harold Lloyd comedies to have the great scoring by Robert Israel, then, no doubt about it, COPS would be tops. (****)

What struck me most about this famous Buster Keaton short was not the overall entertainment value or the big chase scene at the end, but Keaton's amazing strength and physical prowess! This guy was incredible. He must have been an extremely strong, little man, an athlete with muscles like an Olympic gymnast. His feats on the ladder in this film show what I'm talking about here. He didn't use doubles in his films; this guy had not only comedic talent but astonishing physical strength and coordination.

As for the film overall, it was okay but not as super as I had hoped after reading a number of reviews saying this could be Keaton's best. Up to the last quarter of the film, nothing much happened. Virginia Fox, who I like, got second billing but her role was very minor in here.

The last five minutes of this two-reeler involve the famous chase scene where up to 100 cops wind up pursuing our hero. It was that kind of a day for "The Young Man" (Buster) when nothing, but nothing, went right for him!

Lying in bed with a sore throat, I needed some cheering up. Buster Keaton didn't let me down. 'Cops (1922)' is generally typical of the comedian's two-reelers of the early 1920s, though with a lesser emphasis on the ingenious gadgets exhibited in 'One Week (1920)' and 'The High Sign (1921).' The film opens with Keaton apparently looking through prison bars at his sweetheart, until a clarifying shot reveals that it is merely the girl's front gate {Harold Lloyd seized this visual gag for the opening of 'Safety Last! (1923),' but he had a right to it – one scene in Keaton's film, whether unintentionally or not, resembles the manner in which a prop explosion decapitated Lloyd's hand in 1919}. After convincing himself to become a businessman, Keaton's Young Man goes on to show that he has the worst luck in the world. First, he is bamboozled into purchasing another family's furniture (by Steve Murphy, the pickpocket in Chaplin's 'The Circus (1928)'), and then gets caught up in a police parade, where, ever a victim of circumstance, he is wrongly accused of performing an act of terrorism.

Keaton loved ending his film's with an overblown chase sequence, whether it be the stampeding cattle in 'Go West (1925)' or the stampeding women in 'Seven Chances (1925).' In 'Cops,' our hero is pursued by hundreds of uniformed policemen, swinging batons and tripping over themselves. Here, Keaton really earns his title as the "Great Stone Face." The chaos and confusion of the pursuit is amusing enough, but even more so is Keaton's extraordinary lack of facial expression – he just runs, staring blankly ahead, like a man who expects his problems to dissipate as soon as he wakes up. Also incredible is the performer's physical dexterity, as he flips back and forth over a tall ladder balanced precariously on either side of a fence. Also watch out for Keaton regular Joe Roberts as the Police Chief, and recurring co-star Virginia Fox in a disappointingly brief role as our hero's love interest. Even an aching throat can't dampen the chuckles in this excellent comedy short. If laughter is, indeed, the best medicine, then I should be better by the morning.