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BERG Elite inground trampolin. BERG Firkantet trampolin. BERG Flatground trampolin. Buster was such a natural when making his first film The Butcher Boy he was hired on the spot.
At the end of the day's work he asked to borrow one of the cameras to get a feel for how it worked. He took the camera back to his hotel room where he dismantled and reassembled it by morning.
He appeared in a total of 14 Arbuckle shorts, running into They were popular, and contrary to Keaton's later reputation as "The Great Stone Face", he often smiled and even laughed in them.
Keaton and Arbuckle became close friends, and Keaton was one of few people, along with Charlie Chaplin , to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe.
Arbuckle was eventually acquitted, with an apology from the jury for the ordeal he had undergone. It is widely accepted that he was the victim of attempted extortion and an overzealous District Attorney with political ambitions .
In , The Saphead was released, in which Keaton had his first starring role in a full-length feature. It was based on a successful play, The New Henrietta , which had already been filmed once, under the title The Lamb , with Douglas Fairbanks playing the lead.
Fairbanks recommended Keaton to take the role for the remake five years later, since the film was to have a comic slant.
Keaton then moved to full-length features. Keaton's writers included Clyde Bruckman , Joseph Mitchell, and Jean Havez , but the most ingenious gags were generally conceived by Keaton himself.
Comedy director Leo McCarey , recalling the freewheeling days of making slapstick comedies, said, "All of us tried to steal each other's gagmen.
But we had no luck with Keaton, because he thought up his best gags himself and we couldn't steal him! During the railroad water-tank scene in Sherlock Jr.
A scene from Steamboat Bill, Jr. Then, the facade of a two-story building toppled forward on top of Keaton.
Keaton's character emerged unscathed, due to a single open window. The stunt required precision, because the prop house weighed two tons, and the window only offered a few inches of clearance around Keaton's body.
The sequence furnished one of the most memorable images of his career. Aside from Steamboat Bill, Jr. The General , set during the American Civil War , combined physical comedy with Keaton's love of trains, including an epic locomotive chase.
Employing picturesque locations, the film's storyline reenacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time.
It was too dramatic for some filmgoers expecting a lightweight comedy, and reviewers questioned Keaton's judgment in making a comedic film about the Civil War, even while noting it had a "few laughs.
It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists , insisted on a production manager who monitored expenses and interfered with certain story elements.
Keaton endured this treatment for two more feature films, and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer MGM.
Keaton's loss of independence as a filmmaker coincided with the coming of sound films although he was interested in making the transition and mounting personal problems, and his career in the early sound era was hurt as a result.
Keaton signed with Metro-Goldwyn-Mayer in , a business decision that he would later call the worst of his life. He realized too late that the studio system MGM represented would severely limit his creative input.
For instance, the studio refused his request to make his early project, Spite Marriage , as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts.
Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment.
Some of his most financially successful films for the studio were during this period. No Beer? The films proved popular. In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German.
The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. Keaton was so demoralized during the production of 's What!
Upon Keaton's return to Hollywood in , he made a screen comeback in two-reel comedies for Educational Pictures. Most of these 16 films are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films.
In , Columbia Pictures hired Keaton to star in 10 two-reel comedies; the series ran for two years, and comprise his last series as a starring comedian.
The director was usually Jules White , whose emphasis on slapstick and farce made most of these films resemble White's famous Three Stooges shorts.
Keaton's personal favorite was the series's debut, Pest from the West , a shorter, tighter remake of Keaton's little-viewed feature The Invader ; it was directed not by White but by Del Lord , a veteran director for Mack Sennett.
Moviegoers and exhibitors welcomed Keaton's Columbia comedies, proving that the comedian had not lost his appeal.
However, director White's insistence on blunt, violent gags resulted in the Columbia shorts being the least inventive comedies he made.
Columbia and White wanted to sign Keaton for more shorts but the comedian declined, resolving that he would never again "make another crummy two-reeler.
Keaton's personal life had stabilized with his marriage to MGM dancer Eleanor Norris, and now he was taking life a little easier, abandoning Columbia for the less strenuous field of feature films.
Keaton accepted various character roles in both "A" and "B" features. He made his last starring feature El Moderno Barba Azul in Mexico; the film was a low-budget production, and it may not have been seen in the United States until its release on VHS in the s, under the title Boom in the Moon.
Critics rediscovered Keaton in and producers occasionally hired him for bigger "prestige" pictures.
In In the Good Old Summertime , Keaton personally directed the stars Judy Garland and Van Johnson in their first scene together, where they bump into each other on the street.
Keaton invented comedy bits where Johnson keeps trying to apologize to a seething Garland, but winds up messing up her hairdo and tearing her dress.
Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin 's Limelight released in , recalling the vaudeville of The Playhouse.
With the exception of Seeing Stars , a minor publicity film produced in , Limelight was the only time in which the two would ever appear together on film.
Kinescopes were made for distribution of the programs to other parts of the country, since there was no transcontinental coaxial cable until September Reaction was strong enough for a local Los Angeles station to offer Keaton his own show, also broadcast live, in Life with Buster Keaton was an attempt to recreate the first series on film, allowing the program to be broadcast nationwide.
Buster Keaton's wife Eleanor also was seen in the series notably as Juliet to Buster's Romeo in a little-theater vignette.
The theatrical feature film The Misadventures of Buster Keaton was fashioned from the series. Keaton said that he canceled the filmed series himself, because he was unable to create enough fresh material to produce a new show each week.
Keaton's periodic television appearances helped to revive interest in his silent films during the s and s. He appeared in the early television series Faye Emerson's Wonderful Town.
Well into his fifties, Keaton successfully recreated his old routines, including one stunt in which he propped one foot onto a table, then swung the second foot up next to it and held the awkward position in midair for a moment before crashing to the stage floor.
Garry Moore recalled, "I asked Keaton how he did all those falls, and he said, 'I'll show you. So that's how he did it—it hurt —but you had to care enough not to care.
In , Buster and Eleanor Keaton met film programmer Raymond Rohauer , with whom they developed a business partnership to re-release his films.
Actor James Mason had bought the Keatons' house and found numerous cans of films, among which was Keaton's long-lost classic The Boat.
Much of the film was shot on location on the Sacramento River , which doubled for the Mississippi River setting of Twain's book.
He worked with comedian Ernie Kovacs on a television pilot tentatively titled "Medicine Man," shooting scenes for it on January 12, —the day before Kovacs died in a car crash.
Keaton also found steady work as an actor in TV commercials, including a series of silent ads for Simon Pure Beer made in by Jim Mohr in Buffalo, New York , in which he revisited some of the gags from his silent film days.
Meanwhile, Keaton's big-screen career continued. Jimmy assists Spencer Tracy 's character, Captain C. Culpepper, by readying Culpepper's ultimately-unused boat for his abortive escape.
The restored version of that film, released in , contains a scene where Jimmy and Culpeper talk on the telephone. Lost after the comedy epic's " roadshow " exhibition, the audio of that scene was discovered, and combined with still pictures to recreate the scene.
Director William Asher recalled:. I always loved Buster Keaton. He'd say, "How about this? He traveled from one end of Canada to the other on a motorized handcar, wearing his traditional pork pie hat and performing gags similar to those in films that he made 50 years before.
The film is also notable for being his last silent screen performance. In he appeared on the CBS television special A Salute to Stan Laurel , a tribute to the comedian and friend of Keaton who had died earlier that year.
He amazed the cast and crew by doing many of his own stunts, although Thames Television said that his increasingly ill health did force the use of a stunt double for some scenes.
His final appearance on film was a safety film produced in Toronto by the Construction Safety Associations of Ontario, and he died shortly after completing it.
Keaton started experimenting with parody during his vaudeville years, where most frequently his performances involved impressions and burlesques of other performers' acts.
Most of these parodies targeted acts with which Keaton had shared the bill. Keaton parodied the tired formula of the melodramatic transformation from bad guy to good guy, through which went Hart's character, known as "the good badman".
However, Hart himself was not amused by Keaton's antics, particularly the crying scene, and did not speak to Buster for two years after he had seen the film.
In The Playhouse , he parodied his contemporary Thomas H. Ince , Hart's producer, who indulged in over-crediting himself in his film productions.
The short also featured the impression of a performing monkey which was likely derived from a co-biller's act called Peter the Great.
Griffith 's Intolerance , from which it replicates the three inter-cut shorts structure. Film critic David Thomson later described Keaton's style of comedy: "Buster plainly is a man inclined towards a belief in nothing but mathematics and absurdity Look at his face—as beautiful but as inhuman as a butterfly—and you see that utter failure to identify sentiment.
His large, deep eyes are the most eloquent feature; with merely a stare, he can convey a wide range of emotions, from longing to mistrust, from puzzlement to sorrow.
The traditional Buster stance requires that he remain upstanding, full of backbone, looking ahead It is the angle that you remember: the figure perfectly straight but tilted forward, like the Spirit of Ecstasy on the hood of a Rolls-Royce