Buster Keaton - Our Hospitality (1923)

Description: Buster Keaton's third starring feature (discounting 1920's The Saphead, which was not conceived with Keaton in mind), Our Hospitality is a boisterous satire of family feuds and Southern codes of honor. In 1831, Keaton leaves his home in New York to take charge of his family mansion down South. En route, Keaton befriends pretty Natalie Talmadge (Keaton's real-life wife at the time), who invites him to dine at her family home. Upon meeting Talmadge's father and brothers, Keaton learns that he is the last surviving member of a family with whom Talmadge's kin have been feuding for over 20 years. The brothers are all for killing Keaton on the spot, but Talmadge's father (Joe Roberts) insists that the rules of hospitality be observed: so long as Keaton is a guest in the house, he will not be harmed. Thus, Keaton spends the next few reels alternately planning to sneak out of the mansion without being noticed, and contriving to remain within its walls as long as possible. The dilemma is resolved when Keaton rescues Talmadge from a raging waterfall (a dummy stood in for Talmadge; Keaton used no doubles, and nearly lost his life as a result). Beyond the brilliant sight gags in the closing scenes, the most memorable sequence in Our Hospitality is the bumpy train ride taken by Keaton and Talmadge in an 1831-vintage Stephenson Rocket. This 7-reel silent film represents the only joint appearance of Buster Keaton and Natalie Talmadge; Keaton hoped that by spending several weeks on location with his wife, he could patch up their shaky marriage (it didn't work). Also appearing in Our Hospitality are two other members of the Keaton family: Keaton's ex-vaudevillian father Joe (who performs an eye-popping "high kick") and his son Joseph Keaton IV, playing Buster as a baby. ~ Hal Erickson, All Movie Guide







single Link
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698MB
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links are interchangeable
no pass

Buster Keaton & Edward Sedgwick - The Cameraman (1928)

Quote:
Keaton's first film with MGM, The Cameraman (1928), is actually one of his best, but he made it despite the rigid guidelines that MGM executives insisted he follow. They demanded a finished script with all the gags worked out in advance, while Keaton loved to improvise with whatever he found on the set. In addition, Keaton no longer took a directorial credit, even though he was still the chief creator of his films.

The Cameraman introduces us to a tintype photographer who falls in love with a pretty girl (Marceline Day) and decides that he can win her over by becoming a newsreel cameraman. The film contains Buster's famous, beautifully improvised one-man baseball game filmed at Yankee Stadium, and the classic scene with he and another man crammed into a changing booth together, both trying to climb into swim suits. Best of all is Buster's first test reel, a series of double-exposed footage that shows, among other things, a battleship floating down the street. Starting as a milquetoast and learning heroism as the film progresses, The Cameraman gave Buster one of his best roles and he filled it with one of his most touching and fleshed-out performances, using mostly his intense eyes.
h**p://www.combustiblecelluloid.com/classic/cameraman.shtml



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no pass

Buster Keaton - The Navigator (1924)

Description: At the request of his star Buster Keaton, producer Joseph M. Schenck purchased an obsolete ocean liner for $20,000. Keaton wanted to use the boat as a "prop" in his upcoming feature comedy, but went into production with nary a plot idea in his head. Eventually, Buster and his chief gagman Clyde Bruckman came up with a story involving two wealthy, pampered young people (played by Keaton and Kathryn McGuire), who through a series of fantastic but logical plot convolutions end up stranded together on a drifting, deserted ocean liner. At first, the young couple is helpless because they've never had to lift a finger in their lives. As the weeks pass, Keaton and McGuire become quite adept at fending for themselves, utilizing the huge facilities of the liner (its steam room, its enormous kitchen) for the simplest and most basic of necessities. An attack by a cannibal tribe requires Keaton to be more resourceful than ever; the build-up to the climactic contretemps between Keaton and the cannibals is almost as side-splitting as the climax itself. While the film is rife with some of Buster Keaton's most elaborate gags, he scores equally well with smaller, more intimate comedy bits, notably his losing battle with a deck chair and his attempt to shuffle a waterlogged deck of cards. Reasoning that the comedy in The Navigator would work best if built upon an utterly serious storyline, Keaton hired actor/director Donald Crisp to handle the "straight" scenes. Alas, as Keaton would later recall, the constitutionally humorless Crisp "turned gagman on us", resulting in miles of wasted footage. Thus, pay no attention to the "official" directorial credits: Buster Keaton alone is responsible for the helming of The Navigator. Joe Schenck's initial 20 grand investment proved sagacious when Navigator ended up as Buster Keaton's most profitable silent feature film. ~ Hal Erickson, All Movie Guide

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Rar Password: geop

Buster Keaton - Sherlock, Jr. (1924)

A projectionist and a sheik are rivals for a girl. The sheik steals her father's watch and Sherlock is blamed. Back at his projectionist's job he dreams himself and everyone else in his life into the movie which is playing. He is now Sherlock Holmes looking for some stolen pearls.









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no pw

Buster Keaton - The Play House (1921)

The opening scene, a dream sequence prior to the vaudeville routines which follow, is what makes this film famous. In it Keaton plays everyone in a theatre simultaneously (through multiple exposures). He is the band leader, all its members, the dancers on the stage and everyone in the audience.

http://rapidshare.com/files/35044064/theplayhouse.part1.rar
http://rapidshare.com/files/35043924/theplayhouse.part2.rar
http://rapidshare.com/files/35043551/theplayhouse.part3.rar

no pw