The son of actors Edward Sedgwick Sr. and Josephine Walker, Edward Sedgwick made his own show business entree as one of the Five Sedgwicks, a circus and vaudeville acrobatic act. Two of the “other” Sedgwicks were Edward’s twin sisters Eileen and Josie, who later pursued successful silent-movie acting careers. In 1915, Sedgwick broke into films as a comedian, frequently cast as a zany baseball player. He became a serial director in 1921, then moved on to the Tom Mix western unit. Sedgwick’s lifelong love of baseball came in handy as he helmed the ballpark sequences of Mix’s Stepping Out (1923), Buck Jones’ Hit and Run (1924), William Haines Slide, Kelly, Slide (1927), Buster Keatons The Cameraman (1928) and the 1934 mystery Death on the Diamond. While at MGM in the late 1920s, Sedgwick found a kindred spirit in fellow baseball buff Buster Keaton. At Keaton’s insistence, Sedgwick directed all of Keatons silent and sound MGM features, including the aforementioned The Cameraman. Spite Marriage… read more
Joseph Frank Keaton was born on October 4, 1895, to a pair of vaudeville performers. Spending his childhood on the road with his family, he earned the nickname Buster at the age of six months. By the age of three, the youngster was appearing as part of his parents act whenever they could evade child labor laws. In vaudeville, Keaton developed remarkable talents as an acrobatic comedian with a superb sense of timing, and became a rising star by his teens. In early 1917, Buster left his act with his parents, and appeared in a Broadway comic revue later that year, but the key to Keaton’s future came when he met a fellow vaudeville comedian. Roscoe “Fatty” Arbuckle was starring in a low-budget two-reel screen comedy, The Butcher Boy, and invited Keaton to play a small role in the picture. The two hit it off and became a successful onscreen team, starring in a long string of comic hits. Fascinated by the medium of film, Keaton soon began writing their pictures, and assisted in directing… read more
Underrated but pretty funny, Keaton's final silent film has touches of his genius but his lessened control over the film makes you think what could have been. Surprisingly, Keaton wanted this film to be a talkie, but the studio wanted to use their sound sets for musicals and dramas rather than comedy.