This is an Arbuckle/Keaton comedy that, for once, actually have them as a true team as they both are stagehands who end up performing themselves when the actual troupe quits before showtime. The strong man's female assistant who's been abused by him is only one of that troupe deciding to stay. I'll stop there and just say there are plenty of funny gags involving Roscoe and Buster together that are quite funny like when they team to electrocute the strong man with his bar bells after the way he treats his lovely assistant or when during the performance the font of the house falls on Arbuckle and Keaton and they attempt to get it back up! There's also Jack Coogan, Sr. as a long-legged dancer that keeps knocking Buster and Al St. John down that's also good for a few laughs. This is the same Coogan whose son Jackie would later become famous as the title character of Charlie Chaplin's The Kid. I've said enough so I'll just highly recommend Back Stage.
15 Reviews
Keaton's First Film After WW1 Duties
springfieldrental27 September 2021
Buster Keaton had appeared in a number of Roscoe Arbuckle films before he volunteered for the United States Army in the summer of 1918 during the Great War. He was shipped over to France shortly before the war ended in November 1918. Because of his acting talent, the Army decided to have him entertain the remaining troops in Europe before he was discharged in April 1919. Keaton immediately returned to Los Angeles to pick up where he had left off with Arbuckle, appearing in three films with the comedian, the first being September 1919's "Back Stage."
Arbuckle and Keaton are stage hands getting ready for the upcoming show's star performer, a strongman who turns out to be very abusive toward his female assistant. Well before the 'Me-Two' Movement, the pair take it upon themselves to set the larger man straight. Because no one treated him like that before, he refuses to go on the stage. So Arbuckle and company decide to improvise the entertainment, much to the delight of the sell-out crowd. Trouble is, Mr. Muscleman doesn't appreciate their act.
A notable sequence shows one of the stage set's large false wall designed as a side of a house collapsing onto Arbuckle, who is standing underneath it. Thankfully, an open window frame on the second floor falls directly on top of him, allowing Fatty to escape without a scratch. Keaton remembered that trick and used it twice in his movies when he went solo, most famously in 1928's 'Steamboat Bill, Jr.'
Arbuckle and Keaton are stage hands getting ready for the upcoming show's star performer, a strongman who turns out to be very abusive toward his female assistant. Well before the 'Me-Two' Movement, the pair take it upon themselves to set the larger man straight. Because no one treated him like that before, he refuses to go on the stage. So Arbuckle and company decide to improvise the entertainment, much to the delight of the sell-out crowd. Trouble is, Mr. Muscleman doesn't appreciate their act.
A notable sequence shows one of the stage set's large false wall designed as a side of a house collapsing onto Arbuckle, who is standing underneath it. Thankfully, an open window frame on the second floor falls directly on top of him, allowing Fatty to escape without a scratch. Keaton remembered that trick and used it twice in his movies when he went solo, most famously in 1928's 'Steamboat Bill, Jr.'
a very good pairing of comedy legends Arbuckle and Keaton
vnoble12319 January 2009
One of the later Arbuckle-Keaton collaborations, showing the marked influence of Keaton in the construction of gags, "Back Stage" was made the year before they went their separate ways: Arbuckle into features and Keaton into his own series of shorts. Arbuckle's nephew, Al St. John, by this time is relegated to a rather minor role. Jackie Coogan's father, who was an eccentric dancer in vaudeville, appears here in that role (he later heckles from a stage box, but he is not the man in the balcony with a mustache). Coogan was a friend of Arbuckle's and appeared in a few of his two-reel films before Jackie became a star in Chaplin's remarkable feature, "The Kid," two years later (the elder Coogan also appeared in that film in three different minor roles, most notably as Satan in a rather odd dream sequence).
Like Keaton's later short, "The Play-House" (1921), this two-reel comedy gives viewers a distinct feel for the era of vaudeville--though from the perspective of the stagehands rather than the audience. It includes many fine gags built around various back-stage activities and the bumbling attempts of two stagehands, Arbuckle and Keaton, to act as performers.
The most interesting gag historically involves a scenery flat falling toward Arbuckle, with an upstairs window passing around him. Keaton later used an actual falling house front in the same manner twice in his own films: the 1920 short "One Week" (his first release as a solo artist) and, more dramatically, in the 1928 feature "Steamboat Bill Jr.," which was his last independent release (it does not appear in "Sherlock Jr." as stated elsewhere). The latter instance was an extremely dangerous stunt, which easily would have killed Keaton if he did not hit his mark precisely.
"Back Stage" is not their best film together, but it remains a very good Arbuckle-Keaton effort well worth viewing.
Like Keaton's later short, "The Play-House" (1921), this two-reel comedy gives viewers a distinct feel for the era of vaudeville--though from the perspective of the stagehands rather than the audience. It includes many fine gags built around various back-stage activities and the bumbling attempts of two stagehands, Arbuckle and Keaton, to act as performers.
The most interesting gag historically involves a scenery flat falling toward Arbuckle, with an upstairs window passing around him. Keaton later used an actual falling house front in the same manner twice in his own films: the 1920 short "One Week" (his first release as a solo artist) and, more dramatically, in the 1928 feature "Steamboat Bill Jr.," which was his last independent release (it does not appear in "Sherlock Jr." as stated elsewhere). The latter instance was an extremely dangerous stunt, which easily would have killed Keaton if he did not hit his mark precisely.
"Back Stage" is not their best film together, but it remains a very good Arbuckle-Keaton effort well worth viewing.
One of the Very Best Arbuckle/Keaton Comedies
Snow Leopard15 August 2001
This is one of the very best of the Arbuckle/Keaton short features, and there are a lot of good reasons to watch it. Most of the comedy material works very well, and it has some very creative gag ideas, along with some excellent stunt work added in.
The setting, with Fatty and Buster working "Back Stage" for a vaudeville show, lends itself well to humor and variety, and this setting is quite interesting in its own right. If you watch closely, you'll also notice a number of gags used here that Keaton later refined and used to even greater effect later in some of his own short features.
There are several good sequences, and they provide a good showcase for both Arbuckle and Keaton to display their considerable array of comic talents. Al St. John and the rest of the supporting cast also get a couple of good moments. It's great comedy, and a lot of fun to watch.
The setting, with Fatty and Buster working "Back Stage" for a vaudeville show, lends itself well to humor and variety, and this setting is quite interesting in its own right. If you watch closely, you'll also notice a number of gags used here that Keaton later refined and used to even greater effect later in some of his own short features.
There are several good sequences, and they provide a good showcase for both Arbuckle and Keaton to display their considerable array of comic talents. Al St. John and the rest of the supporting cast also get a couple of good moments. It's great comedy, and a lot of fun to watch.
Good fun
planktonrules16 July 2006
Warning: Spoilers
This is one of the later pairings of Fatty Arbuckle with Buster Keaton, as shortly Keaton would go on to make his own films (this was just before the big scandal with Fatty accused of rape and manslaughter). And, since it is a later pairing, you'll see more Keaton because he is no longer just a bit player like he'd been in their earlier films.
In this movie short, Fatty and Buster work behind the stage but are called to star in the show instead because their star walked out at the last minute. Despite everything, they are pretty entertaining and the crowd loves them--so the fatheaded actor who quit begins causing trouble from up in the balcony.
While I am not as thrilled with this short as some of the other reviewers, it is an enjoyable and cute film worth seeing.
In this movie short, Fatty and Buster work behind the stage but are called to star in the show instead because their star walked out at the last minute. Despite everything, they are pretty entertaining and the crowd loves them--so the fatheaded actor who quit begins causing trouble from up in the balcony.
While I am not as thrilled with this short as some of the other reviewers, it is an enjoyable and cute film worth seeing.
Keaton and Arbuckle Lampoon a Familiar Subject
drqshadow-reviews27 August 2020
Egos collide in the wings of a weekly variety show, leading the talent to walk out en-masse and two stagehands (Fatty Arbuckle and Buster Keaton) to perform in their stead. Both comedians owe their careers to the live circuit, where they learnt the ropes with a traveling vaudeville act or two, and that gives the behind-curtains stuff a sense of validity. These guys know which corners to prod, which props to rig for spectacular failure, where and how to poke the pompous stars to push them over the edge.
On-stage, too, they exploit every last opportunity for misadventure, from heckling audience members to collapsing scenery (including an early example of Keaton's famed "falling edifice" gag, best-known from 1928's Steamboat Bill Jr.), with the usual amount of reckless tumbles and messy melees thrown in for good measure. More balanced than some of the duo's earlier pictures, with a number of fresh new bits, but it's missing a certain spark. Maybe their rigorous filming schedule (a dozen comedies together in the preceding two years) was beginning to take a toll.
On-stage, too, they exploit every last opportunity for misadventure, from heckling audience members to collapsing scenery (including an early example of Keaton's famed "falling edifice" gag, best-known from 1928's Steamboat Bill Jr.), with the usual amount of reckless tumbles and messy melees thrown in for good measure. More balanced than some of the duo's earlier pictures, with a number of fresh new bits, but it's missing a certain spark. Maybe their rigorous filming schedule (a dozen comedies together in the preceding two years) was beginning to take a toll.
Buster back from the army
gbill-7487724 April 2023
Perhaps nothing reveals the edge in Roscoe Arbuckle's comedy more than when Buster Keaton's character is tipping over backwards, and rather than catching him, Arbuckle first dusts off the floor with a broom, and then whacks the back of his legs, causing Buster to fall hard. Another such moment is when he and Buster rig up a barbell to try to electrocute a menacing strongman (Charles A. Post). This was after Keaton had tried to incapacitate the man by hitting him with an axe a few different ways.
The darkness in the comedy is ironic, because by bosom buddy Buster Keaton's account, in real life "Arbuckle was that rarity, a true jolly fat man. He had no meanness, malice, or jealousy in him. Everything seemed to amuse and delight him. He was free with his advice and too free in spending and lending money. I could not have found a better-natured man to teach me the movie business, or a more knowledgeable one. We never had an argument."
Fresh off being away for nearly a year in the army, Keaton stayed loyal to Arbuckle despite offers for significantly more money elsewhere. Change was in the wind for Arbuckle, however, as he had changed studios and lost many of the other people in his ensemble, including Alice Lake and (very soon) even nephew Al St. John, who barely appears here. Arbuckle was ill during production, delaying it, and perhaps all of these things led to a rather average film. This was a year before he would sign a mega-contract with Paramount, and two years before the Virginia Rappe scandal would unfairly ruin him.
There are some of the old Arbuckle standbys, including him and Keaton dressing up in drag and dancing, not much of which is very inspired. The limber (and likely coded gay) dancer John Coogan (Jackie's father) does the splits and various maneuvers both Arbuckle and Keaton try to follow, which was amusing. One of the funnier bits was an early version of a sign changing message when a portion of it is concealed, when a posting goes from "Gertrude McSkinny famous star who will play the little laundress first time here tomorrow at 2 pm" to the decidedly more ribald "Miss Skinny will undress here at 2pm."
The best, however, was the bit with the wall of a stage set falling down and just missing Arbuckle, who happens to be standing where one of the window cutouts is. Keaton of course would use this to much more dramatic effect in Steamboat Bill, Jr nine years later, and it was pretty cool to see this early version. Between this and the early version of Chaplin's bread roll dance in The Rough House (1917), you can really see the influence Arbuckle had on these giants of comedy, and his own place alongside them.
The darkness in the comedy is ironic, because by bosom buddy Buster Keaton's account, in real life "Arbuckle was that rarity, a true jolly fat man. He had no meanness, malice, or jealousy in him. Everything seemed to amuse and delight him. He was free with his advice and too free in spending and lending money. I could not have found a better-natured man to teach me the movie business, or a more knowledgeable one. We never had an argument."
Fresh off being away for nearly a year in the army, Keaton stayed loyal to Arbuckle despite offers for significantly more money elsewhere. Change was in the wind for Arbuckle, however, as he had changed studios and lost many of the other people in his ensemble, including Alice Lake and (very soon) even nephew Al St. John, who barely appears here. Arbuckle was ill during production, delaying it, and perhaps all of these things led to a rather average film. This was a year before he would sign a mega-contract with Paramount, and two years before the Virginia Rappe scandal would unfairly ruin him.
There are some of the old Arbuckle standbys, including him and Keaton dressing up in drag and dancing, not much of which is very inspired. The limber (and likely coded gay) dancer John Coogan (Jackie's father) does the splits and various maneuvers both Arbuckle and Keaton try to follow, which was amusing. One of the funnier bits was an early version of a sign changing message when a portion of it is concealed, when a posting goes from "Gertrude McSkinny famous star who will play the little laundress first time here tomorrow at 2 pm" to the decidedly more ribald "Miss Skinny will undress here at 2pm."
The best, however, was the bit with the wall of a stage set falling down and just missing Arbuckle, who happens to be standing where one of the window cutouts is. Keaton of course would use this to much more dramatic effect in Steamboat Bill, Jr nine years later, and it was pretty cool to see this early version. Between this and the early version of Chaplin's bread roll dance in The Rough House (1917), you can really see the influence Arbuckle had on these giants of comedy, and his own place alongside them.
Stagehands have to become impromtu vaudeville actors when actors quit.
weezeralfalfa25 August 2018
Warning: Spoilers
To my knowledge, Roscoe 'Fatty' Arbuckle and Buster Keaton made up the first significant film comedy duo, consisting of a contrasting fat and thin or normal man. That in its self was not sufficient for success, but it seemed to help, as suggested by other successful examples, such as Laurel and Hardy, Abbott and Costello, and Jackie Gleason and Art Carnie. Unfortunately, the team of Arbuckle and Keaton would not last very long, with an output of only 14 comedy shorts. Today, we wish they could have costarred in many more., perhaps with simultaneous independent comedies.......This 2 reeler (about 20min.) involves the performers and stagehands of a vaudeville company. The stagehands consisted of Roscoe, Keaton, and 1a St. John: an Arbuckle regular during this period. They seem to be not familiar with the 2 stage performers: the eccentric dancer(Jack Cougan Sr.)and the strongman(Charles Post), both of whom make trouble for the stagehands.. With his high kicks, the eccentric dancer knocked Keaton down, and knocked Roscoe's hat off. The strongman has his assistant, Molly Malone, carry his 5 heavy suitcases, mostly with heavy weights in them. When Roscoe takes 3 of them to carry the rest of the way, , the strongman angrily takes them from him, and loads them back on Molly. Roscoe and the others are shocked by the abuse of Molly. Roscoe says he will talk to the strongman, but when he goes over, the strongman blows his hat back to Keaton. Roscoe retreats, and Keaton, who has found a fireman's ax, advances toward the strongman's back. He beans the strongman several times with the ax, to no effect. Roscoe has another idea: Attach wires to the ends of the strongman's barbell, and attach the other ends to the house electricity supply. When the unobservant strongman picks up the barbell, and Keaton turns on the juice, he collapses immediately, apparently dead, but he revives. Now, he refuses to take part in the show. The eccentric dancer also refused to perform, because the stagehands complained about his dancing. Both are in the audience, however. Thus, the rest of the crew is forced to improvise a play(rather than cancel the show). In general, I found their show boring. See what you think. While doing cartwheels in his drag getup, Keaton overdoes it, and lands on the eccentric dancer, who has been booing their performance. The strongman sees Roscoe wooing Molly, gets angry, and shoots Molly, who falls, apparently dead. But, very seldom does someone die in an Arbuckle comedy, despite appearances to the contrary. Eventually, she is taken to the hospital, where she recovers, as Roscoe looks on......During the play, the cardboard side of the house falls on Roscoe, who is extremely lucky to escape injury, since the open 2nd story window landed where he stood. Several times, I have seen this stunt in Keaton movies(as in "One Week"), except that the side of the real house is wood, instead of cardboard. Very dangerous! You can see this film at YouTube, and it's also available in several DVD collections.
My favorite Buster/Roscoe short
silent-122 December 1999
This is my favorite of all the Buster and Roscoe shorts, and that's a difficult statement to make--because they're all great! I think the capper for me was the "ballet" with Buster and Roscoe, with Buster in drag. Roscoe was so wonderfully graceful for such a large fellow, and Buster makes a terrific ballerina in slap shoes. It makes you wish they could have worked together forever!
Back Stage review
JoeytheBrit28 June 2020
An ok Roscoe Arbuckle short comedy which sees him and sidekick Buster Keaton having to stage their own show when the acts refuse to perform. This starts off strongly with some great gags and an amusing act from a bandy-legged comic dancer, but the laughs grow further apart as the film goes on. Worth noting that this also features an early version of a comic stunt which Keaton would later revisit upon going solo.
I wonder if this reflects what went on behind the scenes in Hollywood
lee_eisenberg13 December 2019
Fatty Arbuckle's "Back Stage" features him and Buster Keaton as stage actors experiencing all sorts of mishaps as they prepare for the performance. While watching it, I wondered if it reflected what the two men experienced in Hollywood. It's not a great short, but okay for its brief run time; Buster Keaton in particular was still trying to figure out his style. Some of the scenes must've been risque for the era. Worth seeing if you're interested in early cinema.
From Stagehand to Stage star
SendiTolver30 August 2018
Roscoe and Buster star as stagehands in theater, when Strongman (Charles Post) arrives with his personal assistant (Molly Malone). Stagehands and the crew are appalled by the way the Strongman treats his assistant, so they decide to play a little trick on the expense of the bully, after which he quits the show with the rest of the troupe. Strongman's assistant stays with Roscoe and Buster, and gives them the idea to stage the show themselves.
'Back Stage' is interesting story and it could be considered 'character driven' film compared to Arbuckle's usual slap stick stuff, although there is not much character development, but the story is coherent and complete. There are not much action packed physical comedy (besides Busters big fight with the Strongman), the film is filled with nice subtle gags and moments. Definitely different from Arbuckle/Keaton collaboration, and worthwhile to see.
'Back Stage' is interesting story and it could be considered 'character driven' film compared to Arbuckle's usual slap stick stuff, although there is not much character development, but the story is coherent and complete. There are not much action packed physical comedy (besides Busters big fight with the Strongman), the film is filled with nice subtle gags and moments. Definitely different from Arbuckle/Keaton collaboration, and worthwhile to see.
Could have been better
Horst_In_Translation21 December 2014
Warning: Spoilers
"Back Stage" is one of the later works of Arbuckle and Keaton as an on screen-duo. As Arbuckle's acting career was fading despite him being only in his early 30s, Keaton still had his most lauded works before him. Also, a crucial event happened only two years later that almost cost him his freedom and entire career.
Anyway, back to this short film. It is pretty mediocre. There is one or two funny moments, but as a whole I was slightly disappointed. Early on, Arbuckle tries to put up a poster and a little boy gets in the way. As we see the physical abuse, it becomes clear that these silent black&white short films were pretty much as violent almost like the Disney cartoons which became big 15 years later, including an electric shock, a woman being shot and more. Even if we see a happy end (as always at that time) and how she survived, violence was a dominant entertainment factor back in the day. Unfortunately, most of it I did not find particularly funny. Also, this short film has lots of jumping and running around and dancing, but little actual story that could justify a short movie which goes considerably over 20 minutes.
Apart from Keaton and Arbuckle, Al St. John also plays a part here. he was one of the most famous and prolific silent movie actors back then even if his name is not known to many anymore. The main villain is played by Charles A. Post, an actor who was only in his early 20s here, but looks much older, probably also thanks to his enormous height. Nice makeup work. The girl was played by Molly Malone, a regular Keaton/Arbuckle actor. I liked the scene where Fatty hits himself for touching the female companion of the antagonist as such behavior wasn't acceptable. Keaton gives us his usual shtick by making fun of himself and his tiny slim size and there is one main antagonist.
The whole film is about a theater play which goes all kinds of wrong, but brings also action to the table that makes audiences think they were really watching a theater play. It also has quite a few dramatic effects, not comedy only. Some of these I mentioned earlier. None of it really had me on the edge of my seat. I'd really recommend this only to lovers of very old movies (95 years ago already) and fans of the two protagonists.
Anyway, back to this short film. It is pretty mediocre. There is one or two funny moments, but as a whole I was slightly disappointed. Early on, Arbuckle tries to put up a poster and a little boy gets in the way. As we see the physical abuse, it becomes clear that these silent black&white short films were pretty much as violent almost like the Disney cartoons which became big 15 years later, including an electric shock, a woman being shot and more. Even if we see a happy end (as always at that time) and how she survived, violence was a dominant entertainment factor back in the day. Unfortunately, most of it I did not find particularly funny. Also, this short film has lots of jumping and running around and dancing, but little actual story that could justify a short movie which goes considerably over 20 minutes.
Apart from Keaton and Arbuckle, Al St. John also plays a part here. he was one of the most famous and prolific silent movie actors back then even if his name is not known to many anymore. The main villain is played by Charles A. Post, an actor who was only in his early 20s here, but looks much older, probably also thanks to his enormous height. Nice makeup work. The girl was played by Molly Malone, a regular Keaton/Arbuckle actor. I liked the scene where Fatty hits himself for touching the female companion of the antagonist as such behavior wasn't acceptable. Keaton gives us his usual shtick by making fun of himself and his tiny slim size and there is one main antagonist.
The whole film is about a theater play which goes all kinds of wrong, but brings also action to the table that makes audiences think they were really watching a theater play. It also has quite a few dramatic effects, not comedy only. Some of these I mentioned earlier. None of it really had me on the edge of my seat. I'd really recommend this only to lovers of very old movies (95 years ago already) and fans of the two protagonists.
Back Stage with Arbuckle and Keaton
Michael_Elliott2 May 2016
Back Stage (1919)
** 1/2 (out of 4)
Later day two-reeler has Roscoe 'Fatty' Arbuckle and Buster Keaton playing stage hands who run off The Strong Man after insulting him. When everyone walks out the duo must go on stage and try to make the paying crowd happy.
BACK STAGE isn't the greatest collaboration between Arbuckle and Keaton but if you're a fan of the two legends then this here is certainly worth watching, although you can't help but wish it was better. The biggest problem is that the story itself just doesn't give our two leads much to do. The first portion of the film contains a few laughs and especially the scenes with Arbuckle and the kid that is annoying him. The second portion has Keaton in drag but this here just never gets a big laugh. Again, if you're a fan this is worth watching but the duo certainly made a lot better.
** 1/2 (out of 4)
Later day two-reeler has Roscoe 'Fatty' Arbuckle and Buster Keaton playing stage hands who run off The Strong Man after insulting him. When everyone walks out the duo must go on stage and try to make the paying crowd happy.
BACK STAGE isn't the greatest collaboration between Arbuckle and Keaton but if you're a fan of the two legends then this here is certainly worth watching, although you can't help but wish it was better. The biggest problem is that the story itself just doesn't give our two leads much to do. The first portion of the film contains a few laughs and especially the scenes with Arbuckle and the kid that is annoying him. The second portion has Keaton in drag but this here just never gets a big laugh. Again, if you're a fan this is worth watching but the duo certainly made a lot better.
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