Have a high appreciation for comedy and try to at least appreciate every kind of it. Some of my favourites actually, whether animated or not and film and television, are comedies. The witty and sophisticated types especially, also the physical sight gag driven ones. The broad types can work too, depending on how the execution is. With exceptions of course, am less of a fan of the crude type, which tend to veer on mean-spirited distaste.
Buster Keaton was and still is a big influence for the genre and cinema overall, and one of the greats. Anybody who has yet to see any of his work really should do so, one won't see anything quite like him or his work. Make sure though it's his silent films, shorts and feature, the transition to sound didn't/doesn't do him justice. His comic timing, his physical dexterity, his charm, how fearless he was in such ahead-of-the-time bold set pieces, his unique and unrivalled ability in making deadpan interesting and remarkably expressive all made for a genius of his craft.
Although not quite as physical comedy/bold stunt heavy as other Keaton outings, that still doesn't stop 'The Scarecrow' from being one of Keaton's best short films. As well being one of his funniest, wildest and most inventive before he went onto feature films. While liking a lot of Keaton short films very much, 'The Scarecrow' has always stood out for me.
While not what one calls technically ground-breaking, 'The Scarecrow' is still very nicely shot and easy on the eye, there is nothing cheap about it. The story is slight but full of breakneck energy and very charming, never letting up from the hilariously inventive beginning to the clever ending. Other than the beginning, with all those contraptions and the domestic duties, the other highlight is the escape from the mad dog played by Fatty Arbuckle's real life dog Luke, which is one of the funniest sequences of any of Keaton's short films. Humour is aplenty and all of it is beautifully timed and the energy and fun never stops.
Keaton is as amiable and athletic as ever with terrific comic timing. Deadpan has never been more expressive or nuanced than with Keaton, he was a true original in this regard and that can be seen here. The rest of the cast do well too, with Sybil Seeley a charming female lead and Joe Roberts a great match for Keaton in the beginning, though Luke is the one that stands out.
In conclusion, wonderful. 10/10
Buster Keaton was and still is a big influence for the genre and cinema overall, and one of the greats. Anybody who has yet to see any of his work really should do so, one won't see anything quite like him or his work. Make sure though it's his silent films, shorts and feature, the transition to sound didn't/doesn't do him justice. His comic timing, his physical dexterity, his charm, how fearless he was in such ahead-of-the-time bold set pieces, his unique and unrivalled ability in making deadpan interesting and remarkably expressive all made for a genius of his craft.
Although not quite as physical comedy/bold stunt heavy as other Keaton outings, that still doesn't stop 'The Scarecrow' from being one of Keaton's best short films. As well being one of his funniest, wildest and most inventive before he went onto feature films. While liking a lot of Keaton short films very much, 'The Scarecrow' has always stood out for me.
While not what one calls technically ground-breaking, 'The Scarecrow' is still very nicely shot and easy on the eye, there is nothing cheap about it. The story is slight but full of breakneck energy and very charming, never letting up from the hilariously inventive beginning to the clever ending. Other than the beginning, with all those contraptions and the domestic duties, the other highlight is the escape from the mad dog played by Fatty Arbuckle's real life dog Luke, which is one of the funniest sequences of any of Keaton's short films. Humour is aplenty and all of it is beautifully timed and the energy and fun never stops.
Keaton is as amiable and athletic as ever with terrific comic timing. Deadpan has never been more expressive or nuanced than with Keaton, he was a true original in this regard and that can be seen here. The rest of the cast do well too, with Sybil Seeley a charming female lead and Joe Roberts a great match for Keaton in the beginning, though Luke is the one that stands out.
In conclusion, wonderful. 10/10