![]() Obviously, Keaton also knew how to use physical characteristics of women as a source of comedy when he wanted to. With similar attention to visual considerations but probably opposite intent, Keaton surely chose leading actresses whose size complemented his own so as not to introduce an element of comedy in a pairing when it was meant to be romantic and plausible where there was no wish to draw attention to stature. Consider, too, that Keaton knew what he was doing when he worked with Snitz Edwards as a sidekick, who was only 5 foot flat and made Keaton look big. Pickett, purportedly 6'11", looking almost like members of different species in The High Sign. ![]() And think about the hilarious relative size of 5'5" Keaton with Ingram B. When Keaton struck out on his own, he consistently chose to work with Big Joe Roberts at least in part for this reason. As Keaton must have learned early on while working with Fatty Arbuckle, the juxtaposition of himself with a tall rotund man is itself visual comedy. Keaton was a visual genius who chose many actors in his films at least in part for their physical characteristics. Lets start with the idea that Keaton selected leading ladies for their proportions. Certainly there are some Keaton films where the leading female role is not central or essential, but I would never agree that, generally speaking, Keaton's leading ladies were unimportant or just props. ( See, e.g., LA Times Article quoting film historian David Gill).īut they have it wrong. Others have repeated this so often that it has taken hold as a truism: Keaton's leading ladies were weak (as comedians), chosen mainly for their proportions, placed in scenes to be handled and molded, or otherwise of limited or diminished value. Tibbets), possibly originating with Buster - obviously formidable authorities. I mean to take it on.Īn unfortunate challenge with confronting this "props" theory, is that it seems to have been declared notably by Eleanor Keaton herself ( see, e.g., 1995 interview with John C. This idea rankles and has always sat ill with me. However, the seesaw gag was particularly amusing and Keaton’s stunt-work is unbelievable as ever.Something I've heard time and again - from commentators who speak of his work - is that the leading actresses in Buster Keaton films were no more than "props" to this great master. ![]() I enjoyed elements of the more despairing tone Cops offered, but it is probably my least favourite of the four due to its confusing incoherence and strange pacing. ![]() ![]() The ending of the film is also extremely dark, the final shot being of a gravestone emblazoned with a ‘The End’ title card, with Keaton’s pork pie hat propped up against it. Within Cops, Keaton’s character never comes out on top – despite his good intentions – which illustrates a sense of hopelessness throughout. The realism within the film can be seen within the context, as it was produced during the rape-and-murder trial of Fatty Arbuckle – a silent star of the 1910s who brought Keaton into the limelight. Another expressive technique Keaton utilises is the during the seesaw sequence, in which he plays around with framing and symmetry to create yet another humorous gag. ![]()
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