Frigo et la baleine

The great Buster Keaton's short films may have been inconsistent in quality, though certainly through no fault of his. There are some wonderful ones, such as 'The Scarecrow' and 'The Goat'. A few though disappointed, such as 'The Frozen North' and 'The Balloonatic', yet were still watchable (it takes a lot for me to consider any of Keaton's work unwatchable). What they have in common as the main reason to see them is Keaton himself, wholly deserving of his comedy genius reputation.

Keaton did though do a lot better than 'The Love Nest', not just short films but also his overall filmography. It is definitely worth seeing, has great things and Keaton himself doesn't disappoint, but for me the material, amusing but not his most inspired, and storytelling were flawed. If to rank his short films from best to worst, for me 'The Love Nest' is towards the bottom. Just to reiterate, it is far from terrible, actually did like it, just didn't love it.

A lot of good things can be seen here in 'The Love Nest'. Other Keaton short films may be more polished visually, with more refined editing, but the more surrealistic imagery is quite eerie and there is a lot of atmosphere in the stark photography. There is plenty of charm here, without being sappy, and enough amuses. Joe Roberts is a formidable nemesis.

What makes 'The Love Nest' worth seeing are two things. One is Keaton, who has great comic timing as ever, is daringly athletic and nobody before, during or since did deadpan more expressvely than him. When it comes to standout scenes, the highlight is the pretty ingenious, very funny and thrillingly staged climax.

So it was something of a shame that other aspects of 'The Love Nest' weren't as inspired. The story here is pretty weak, it takes a while to gain momentum, with the first third feeling over-stretched, and much of it feels rather thin and incomplete. It did feel like more was filmed but left out for time constraints, which would account for why structurally it felt slightly choppy at times.

Despite enough of 'The Love Nest' being amusing, not much is hilarious or particularly inventive. While the climax is brilliant, the very end is less so and felt almost like an abrupt easy way out. May be a little biased as it is a type of ending that has always come off as too much of a cheat and indicative of not knowing how to end it.

Overall, above average and worthwhile but generally not exceptional. 6/10

Perhaps it is the clichéd framework of the film that puts me off; perhaps Keaton is not quite as ingenious in this film as in others. Whatever, `The Love Nest' lacks the effervescence of many of Keaton's shorts. He is quite innovative in some scenes, the best his being caught with a rifle in his hands; without losing pace, he proceeds to go out and shoot a fish. This is part of his true mastery, salvaging a situation with hilarious results. Joe Roberts, who appears in several Keaton films, is good as the sinister whaling captain.

Now here's a Keaton short I can confidently recommend.

In contrast to "The Boat", Buster is not at the mercy of physics here. This time he causes the chaos, and he's aware of it. He spends the duration wriggling his way out of trouble, instead of more deeply into it.

The absurd tone of the whole thing is set by the goofs in what is a sort of anti-"Dear John" letter ("PS If you do not receive this letter, write me").

But what makes this special is the revelation that this is one big slapstick dream. And...all of that is wrapped within another envelope of absurdity, exposed to us in brilliant visual shorthand -- add them up and you have something quite uniquely cinematic.

This short comedy is less polished than Keaton's best features, but it has some very funny moments, with a good finale that is clever and also suggestive. Keaton and the supporting cast pull of most of the gag ideas quite well. The setting might offer more limited possibilities than do many of Keaton's other short features, but they seem to have gotten the most out of the material.

The story opens with Buster, depressed because of romantic difficulties, setting off in a tiny boat to get away from it all, leading to many unexpected developments. Joe Roberts is well-cast as Buster's antagonist, and there are some amusing confrontations between the two. Virginia Fox also helps out.

Buster pulls off some good morbid gags, with his deadpan style serving well in making them work. There are also a number of nice subtle humorous touches. Most Keaton fans should enjoy this one.

Ever since the sixties, Buster Keaton has been championed by intellectuals, who like to place him with such 20th century masters as Kafka and Beckett. In claiming Keaton for high art, critics often exaggerate the strains of cynicism, pessimism, and irony in his work, while overlooking the sincere drama and laugh-out-loud comedy in the films, as well as the soulfulness and unflagging determination of Buster's characters. But if surrealism and black humor are what you want, The Love Nest is thoroughly dominated by both. It's not one of Keaton's most successful films, nor one of his funniest, yet I find it oddly compelling. If you want to see Buster at his nautical best, watch The Boat or The Navigator; but this is an interesting twist on the seafaring theme.

The last two-reel comedy Keaton made before embarking on full-length features, The Love Nest has several distinctions. It's the only one of his films for which Buster took sole writing and directing credit. And it's the only one that has no leading lady: a photo of Virginia Fox provides the only feminine presence. Having lost her, Buster sets out on a solitary ocean voyage in a tiny homemade boat (ironically called Cupid.) Days later, we see him adrift, weak, thirsty, and starving—and wearing a painted-on beard. He's rescued by a whaling ship (even more ironically called the Love Nest), which turns out to be captained by a sadistic tyrant (Big Joe Roberts), who punishes minor infractions by heaving sailors overboard and tossing memorial wreathes after them. The whaling ship is beautifully realized, with a grim, Melvillean raffishness; this section is remarkably similar to the later film The Sea Wolf in both look and theme. There are some wonderful moments. Buster gazes longingly at the view through a porthole, and then the captain comes up and takes the porthole away. Buster walks into the water with a gun over his shoulder and emerges with a fish he has shot. When he wants to escape in a lifeboat that's too heavy for him to launch alone, he goes below and smashes a hole in the whaling ship's hull, then sits in the lifeboat waiting for the larger boat to sink, calmly playing solitaire.

The beginning and end of the film are particularly weak, as though Buster wasn't sure how to justify the whaling ship sequence. (The very end appears to be missing, however, so who knows what the closing gag might have been.) I think at this point, Buster was eager to move on to feature films and weary of coming up with ideas for short films every other month. Many of his late two-reelers have odd structures, far-out premises, and a slightly tired, sour feeling. But The Love Nest is a strangely beautiful, dreamlike little film, and I like it because it's impossible to imagine anyone except Buster Keaton making it.