Grand Slam Opera

"Grand Slam Opera" is the only Educational short film of which Keaton felt proud enough to take story credit. Jim Kline in "The Complete Films Of Buster Keaton" writes the short "is a joy from beginning to end, full of playfully satirical routines from his days in vaudeville, all performed with vitality and assurance in classic Keaton style." He also notes that Keaton was "sober during production and managed to stay away from alcohol throughout the rest of the decade." Variety" called the short "pretty good enough to be sold as a baby feature." Other reviews on this database are far less enthusiastic.

Down on his luck, out of favour, no longer the huge star he used to be, and broke, Buster Keaton signed to do a series of shorts with Educational pictures. Most are merely amusing. But Grand Slam Opera is a flash of comedic brilliance that reminded us just who we were watching: one of the greatest movie comedians and directors who ever lived.

Keaton pulls off the funniest parody of Fred Astaire ever in a sequence where he mimics the famous scene from Top Hat, dancing in his dingy room, up on the furniture and down again, disturbing the lady trying to sleep below. He pokes fun at Sinatra's Hoboken Four, and Major Bowes' Hour. Deadpan, he dances through an international medley of music, improvising the appropriate dance as the music changes. He lampoons pretentious singers, annoying band leaders, and introduces a pick-up line that you will never forget. He sings, he dances, and he falls in ways that only he can. Best of all, he gets the girl. If you love Keaton, you'll love this short.

By the time this film was made just about everyone had given up on Buster Keaton. He'd been divorced by his wife, fired by MGM, and reduced to making obscure features in Europe and cheap two-reel shorts in Hollywood, the latter at a studio known as a haven of sorts for has-beens: Earle Hammons' Educational Pictures. As its name suggests, Educational had initially produced instructional films for schools, then switched to comedies without a change of name. During the 1920s a lot of quality work came out of this studio, but by the mid-1930s the place had become shabby and most of its product was bottom-of-the-barrel stuff, making its slogan ("The Spice of the Program") a sadly ironic joke. Buster Keaton, now an alcoholic ex-MGM star with a wobbly private life, became the biggest name on the lot.

Keaton fans know that his output of shorts for Educational was erratic: several of the films are depressingly poor, but a few of them feature a little of the old spark and can be put in the category of "not half bad." Grand Slam Opera, on the other hand, is something of a miracle, a genuinely enjoyable comedy that has the feel of Buster's best work from his heyday. It's as if the man suddenly pulled himself together and decided to show the world what he was still capable of accomplishing.

From the opening moment we know we're in for something special: Buster's character, a small-town dreamer named Elmer Butts, is hoisted by a crowd of well-wishers onto a train for New York and treated to a serenade of farewell, "So Long Elmer," a parody of a George M. Cohan song. The song kicks things off on a breezy, funny note, and when Buster joins in on the chorus it marks a rare occasion that his bullfrog voice was utilized to full comic effect in talkies. Then Elmer is off to the big city to try his luck on Colonel Crow's radio talent show, where he doggedly persists in performing a silent juggling act that makes no sense to radio listeners. (Colonel Crow's program represents a satirical jab at an actual radio show of the day, Major Bowes' Amateur Hour). Elmer meets a girl, she rejects him, and then when he discovers that her apartment is directly beneath his own we're presented with another great parody, this time poking fun at the Fred Astaire/Ginger Rogers "meet cute" sequence in Top Hat. Buster's dance is one of the film's highlights, but for my money the best bit comes when he's waiting in the radio station's Green Room while a band called the Hoboken Canal Boat Boys plays a medley of various national folk tunes. Just for the sheer challenge of the thing, Elmer dances madly to each number, switching from Highland fling to Spanish tango, etc., as the music dictates. The scene is hilarious, exhilarating and impressive, and demonstrated that 40 year-old Buster still had plenty of energy and wasn't ready to be put out to pasture just yet.

It's interesting to note that the central premise of Buster's story provides a kind of hidden message concerning the state of his career at this time. The joke is that Elmer Butts refuses to adapt his act to the demands of an audio medium, radio, and insists on performing a silent act. But the wish-fulfillment upshot of it all is that Elmer's comic talent is recognized anyhow, and he eventually wins the contest and the girl. In reality, Buster Keaton still had plenty of hard knocks to come in his life and career, but for a brief moment, if only in this surprising and delightful film, he was on top again.

Just like in the standard hotel ratings, Buster rates 5 out of 5 stars in my book!!

Now per the IMDb rating scale, if ALL this film consisted was Buster's dance scenes, especially the two-minute scene in the green room, I'd give it a 10.

Otherwise, I thought the movie itself was overall just another travesty among Keaton's 1930's films, only allowing Buster to do a mere shadow of what he did and could accomplish on his own films, and for that I'd give it a 0.

So: Buster = 10, the film itself = 0, the average of which is 5 IMDb rating stars.

After spending years in the MGM factory and nearly losing his mind, Keaton pulled himself together in 1935. At that time he worked for Educational, a low budget company that had seen much better days. The 16 films Keaton did for Educational between 1934-37 are nevertheless viewed today which respect. Despite meager budgets and often not very original scripts they still show that here Keaton was given some creative control (compare to the most films he later did for Columbia) and was still able to create great gags. But only in a few films he could work with an own script. GRAND SLAM OPERA was one of the few. It is a Keaton Film from start to finish, with a clever story, fast pace and some good support by Harold Goodwin and especially John Ince (good supporting actors are quite rare in low budget comedies). The "Hotel room dancing" and the juggle performance in front of a micro are classic scenes. Not surprisingly GRAND SLAM OPERA is now regarded as (almost) equal to the quality of his silent films. Others, like PEST FROM THE WEST were very funny, but GRAND SLAM OPERA provided the special "Keaton-Touch" that was nearly destroyed by MGM.