Film

Samuel Beckett is popularly known for his absurdity in theatres what we can see in the case of " Waiting for Godot" which is considered as the benchmark for absurdism in literature. Same kind of literary trends can be easily assessed in the case of 'Film' as well , there is not any dialogue between any character. Protagonist of the ' Film' is an oldman who seems in the last stage of his life , feels himself alienated or I can say that keeps himself alienated from external world, he seems very frustrated from Old aged life , and keeps himself checking that whether he is alive or not...

Considering the other comments, there's little to add about the movie, but I know these few facts surrounding it. When Schneider visited Keaton to see whether he'd do the movie, Schneider found Keaton in a poker game w/ three empty chairs, which represented three of Keaton's companions--all dead, but Keaton continued to play.

Keaton was mystified by this script, too, as by "Godot", but wanted the money. He suggested several comedic bits be added, because he thought the whole thing would be less than five minutes. In New York, he wanted to use one of his flat hats rather than the bowler Beckett had written in, and Beckett immediately agreed.

The film was shot in mid-summer in a very hot New York, each day over 90 degrees. Keaton (age 69, and not in great health: he died less than two years later) never complained as he had to keep running along that brick wall in the heavy overcoat.

It was Beckett's only visit to the U.S., and he never got outside of New York, and left the U.S. as quickly as possible.

I rate this 7/10 for fans of Buster Keaton. If you don't like Buster I doubt you'll find this short film interesting.

This is a homage to Buster Keaton by Samuel Beckett who is playing with the ideas of subject and object in a world where perhaps we have no control over who is doing the watching. Beckett had been influenced a great deal by the genre of comedy and acting that Keaton personifies. Many of his books and plays feature tramp-like, down-and-out characters and he uses the physical comedy routines of vaudeville and silent films of the early 20th Century in many of his works. He and Keaton both share the idea of man thrown into an uncaring world where they are left alone to survive among its absurdity.

However later Beckett stated : "Buster Keaton was inaccessible. He had a poker mind as well as a poker face. I doubt if he ever read the text - I don't think he approved of it or liked it. But he agreed to do it, and he was very competent." Buster had turned down overtures from Beckett before, but he was in debt, and the story is that his wife talked him into it.

Note actor James Karen as a reverend in the alley towards the beginning. Karen worked with Buster Keaton in touring productions of the comedy "Merton of the Movies" in the 1950s.

This is one of the most rewarding short films I have ever seen - and I have seen many! - and it haunts me even now, more than 35 years after I saw it for the first (and only) time. That was during a cinema club season in Bergen, Norway, where part of the program was a "short film night" devoted to silent movies, short movies, and various combinations of these. The audience was clearly confused, since "Film" was obviously not what most had expected. And in company with "Nosferatu" (l922), "Freaks" (1932) and "Terminus" (1961 - a documentary of a British railway station) it did strike a very different chord than sheer horror and sober facts did.

Beckett's work at that time was slowly gaining ground in Norway, as did Pinter's - trying to promote either was an uphill task in a mountainous country unused to modern drama and more tuned to sports. The discussions in a seminar after the showing proved this... But this resistance to something obviously alien did not detract from my pleasure (and several others') in relishing a masterpiece, where nothing could have been improved on. A book called "Film by Samuel Beckett" was published by Faber in 1971, and generously offers complete scenario and a profusion of illustrations and production shots. It has also comments by Beckett and an essay by Schneider, and is a useful substitute for anybody without access to the Film itself.

Agreeing with other commentators, I can only say that this is really an absorbing and disturbing experience - quite unique! And one that leaves you thinking and wondering and shuddering for a long time.

A bizarre short experimental film penned by author Samuel Beckett, Film is based on his interest of philosopher George Berkeley's concept of "subjective idealism", an 18th century philosophical notion which suggests that the existence of material substance cannot exist without being perceived. As "O" – the Observer, Keaton attempts to escape "E" – the Eye of observation, which includes the camera – to which his back is turned throughout much of the production.

Largely indecipherable without Beckett's explanation, "O" hides from the gaze of every living thing, including himself, in a small cell-like room as both precursor and condition for his character's death.

And, if you are the least bit curious about Film, be sure to watch Ross Lipman's fascinating Kino Essay "Notfilm" (2015).