*This* is what Buster Keaton should have been doing, in those big-budget years at MGM; not grappling with dames in costly furs and dodgy dialogue. This is what the opening of "Spite Marriage" might have been, if he'd been allowed to make it as a talkie -- this is how the start of "Sidewalks of New York" might have come out, if he'd had any control over the script.
But this isn't a feature film; it's a Poverty Row short, and the date is not 1930 but 1937. We'll never know what Keaton might have produced for MGM if he had only been consulted in the matter, and hyperbole is out of place when dealing with the output of the all-too-grandly-named Educational Film Corporation of America. It remains nevertheless the case that this is a thoroughly attractive little comedy, the equal of many of his silent shorts of the 1920s -- minus the intertitles, plus sound.
The storyline is plausible, ingenious, satisfying and yet bizarre. The set-piece jokes are good ones, often classics to rival any of his earlier work, as in the sequence when he does his best to get arrested, or the scene where he enters the cell as possibly the least escape-prone prisoner in history! His physical gifts are displayed to good advantage, with the pratfalls of the MGM years all but forgotten in favour of gags that actually advance the plot -- "Jail Bait" is no masterpiece, deprived of any chance at beauty by its inescapable financial constraints, but it shares almost all the ingredients of Keaton's best work. And quite simply, it's very funny; the old magic strikes again.
More than that -- by and large it's "right", in a way that Keaton films had once always been right: everything fits. It's clever, it's good, and it's authentic Buster, as effective as ever... what more can one ask?
But this isn't a feature film; it's a Poverty Row short, and the date is not 1930 but 1937. We'll never know what Keaton might have produced for MGM if he had only been consulted in the matter, and hyperbole is out of place when dealing with the output of the all-too-grandly-named Educational Film Corporation of America. It remains nevertheless the case that this is a thoroughly attractive little comedy, the equal of many of his silent shorts of the 1920s -- minus the intertitles, plus sound.
The storyline is plausible, ingenious, satisfying and yet bizarre. The set-piece jokes are good ones, often classics to rival any of his earlier work, as in the sequence when he does his best to get arrested, or the scene where he enters the cell as possibly the least escape-prone prisoner in history! His physical gifts are displayed to good advantage, with the pratfalls of the MGM years all but forgotten in favour of gags that actually advance the plot -- "Jail Bait" is no masterpiece, deprived of any chance at beauty by its inescapable financial constraints, but it shares almost all the ingredients of Keaton's best work. And quite simply, it's very funny; the old magic strikes again.
More than that -- by and large it's "right", in a way that Keaton films had once always been right: everything fits. It's clever, it's good, and it's authentic Buster, as effective as ever... what more can one ask?