Frigo fregoli

I just watched The Play House which was the first film that was presented in the "Industrial Strength Keaton" DVD collection of various Buster Keaton films from the silents to the end of his life. The first half where he appears in various incarnations of himself was quite impressive especially when 9 of him appear together in the same frame. Some amusing, if not hilarious, gags occur there. The rest of the short has Buster being an actual stagehand/performer who goes through more hilarious mishaps that has to be seen to be believed. I especially loved the way he put out a man's fiery beard or got a woman out of a water tank. Not to mention how he impersonates a monkey. Or how he tells one twin sister from another. So on that note, I highly recommend The Play House.

In his prime, there was nobody quite like Buster Keaton, deservedly considered one of the greats in silent comedy. Nobody back then and even now were as daring when it came to high-risk stunt work in physical comedy and he was an unparallelled master at making deadpan both funny and expressive. Something that one doesn't see an awful lot as many would struggle at doing one of those let alone both well.

'The Play House' may not quite be among his very best overall, in a filmography full of quintessentials. When it comes to Keaton's short films though, and there is a vast amount of them, it's one of my favourites. 'The Play House' is a must see for any fan and for anybody and everybody and it is one of the most imaginative and funniest examples of the type of story it has, deliberately and undoubtedly silly certainly but endearingly so.

Of his silent short films, 'The Play House' is one of the best looking. The closest his short films get perhaps to being a technical achievement with a surprising amount of boundary pushing in film trickery when playing the amount of characters Keaton plays simultaneously.

A lot of funny and even hilarious moments, beautifully timed, deliciously wacky and it never feels too much. All of them work, when you watch 'The Play House' having just watched a good comedy albeit with a couple of misses in the humour department or a comedy that is not funny at all and not good in quality too that is great. There is enough variety to not make it all repetitive. Some of the more physical work is typically daring

While a very slight one, the story is charming and never dull, even with the freedom it has. The vaudeville dream sequence is the very meaning of a show-stopper. Virginia Fox is appealing and the rest of the cast have fun with their roles.

Keaton is the reason to see 'The Play House' though. In a huge number of roles executed simultaneously and handled expertly. Such great comic timing and he is worth rooting for as well, his unique quality of his deadpan delivery never faltering.

Summarising, wonderful. 10/10

Long before we became John Malkovich, an entire playhouse became Buster Keaton... and it's absolutely delightful. "The whole thing seems to be this Keaton fellow," says Keaton to Keaton dressed in drag (a much more attractive crossover than Jack Lemmon and Tony Curtis!). Indeed.

Oh, but that's not all! Nooo, why stop there when we have an antagonist to show? Because Malkovich is only in the head, and thus Keaton is but a dream. However, the real playhouse owner... he has a bone to pick with the little guy, in some of the most hilarious Keaton hijinks.

This is the consummate Buster Keaton short. From the magic and creativity of the beginning, to the chase scenes and guy-gets-girl later story, we follow him as he takes on and removes persona faster than the speed of a swinging chimp! Oh, and he gets to play that chimp too, and very very believably.

--PolarisDiB

This has to be one of the strangest, most daring films ever made by a major Hollywood studio, and surely the funniest and most perceptive study of madness in all cinema. The first ten minutes are a breathtaking display of bewildering surrealist magic. Buster Keaton buys a ticket for a variety show. Buster Keaton conducts an orchestra of Buster Keatons, defeated by their hostile instruments. An art-deco line of Buster Keaton minstrels have a calm discussion, while pairs of male and female Buster Keatons make up the audience, restless, spiteful and belligerant.

This is stunning cinema in any language (arf), and a supreme visualisation of mental breakdown, distorted personality, megalomania, and the most terrifying anxieties. It is also an hilarious pre-empting of the auteur theory - the elaborate playbill reveals Buster Keaton to be responsible for EVERYTHING, from scenario to lighting - this monopoly of creativity leads to chaos, madness, fragmentation and estrangement.

As in so many of Keaton's films, this remarkable fantasy is shown to be the dream of a lowly, bullied man, this time a theatrical hand. Far from diminishing the film's dreamlike structure, this revelation intensifies it. An astonishing series of variations on the line between art and life, dream and reality ensues, an argument which descends into ever-increasing spirals of confusion and disintegration.

Some of Keaton's best comic set-pieces follow, all hilarious in themselves, yet underlining the melancholy and fears of Buster himself - be he ordinary man or isolated genius. Life can never remain stable for him, his personality is shot to pieces - whether through existential crises or booze is unclear; like Gulliver in Houyhnhm land, his humanity is stripped to the level of bestiality - a very funny, subversive sequence, which is as despairing as the end of NIGHTMARE ALLEY.

The supposedly redemptive love interest is a bewildering, tormenting game on Buster, as he repeatedly fails to remember which twin is his fiancee. The continually collapsing sets are a thematically rich, Usher(playhouse, geddit?)-like representation of Buster's fragile mind. To universalise the genius of Buster Keaton is to belittle and emasculate him. He is like us only because his trauma is so particular.

To be honest, the only video of this movie I've seen has been rather washed out. But the wonderful special effects of the first half still show through. This isn't a Melies' fantasy with avant garde stylings and effects, but rather a simple and almost elegant movie with one simple effect: Buster Keaton plays ALL the parts in a theatre presenting a minstrel show. This may not seem much in the CGI-world of the nineties...but back in the 1920's it was a tour de force. The ease with which Keaton brings together at least ten separate performances at one time is amazing...one can only imagine the planning that went into this movie.

The second half is a tad low-key...though it of course features more of Keaton's acrobatic slapstick, and a particularly striking bit with him dressed up as a monkey.

This is definitely not The General or Steamboat Bill, Jr., but it is very enjoyable and, I believe, very deserving of a high place in the canons of early film for the artistry that Keaton applied to the special effects.