In one of the all-time classic chase films, Buster Keaton must impress the girl he loves by becoming a business man, even if that means “borrowing” a cop’s wallet, accidentally stealing a family’s entire household, and outrunning the city’s entire police force!
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One of the first Keaton works I ever saw back in high school, and a great example of how a silent film that is nearly a century old can still be surprisingly....very entertaining.
Goes to show that our model for what makes a film enjoyable, still bears much resemblance to these films of old....
One of Buster Keaton's most famous comedies, COPS is essentially an extended chase sequence, with Keaton as a man trying to impress a woman by becoming a successful businessman, only to unwittingly find himself a fugitive on the run. Almost more of an action film than a comedy, COPS is nevertheless a fine example of Keaton's genius for constructing elaborate physical comedy routines.
Keaton as an unsuspecting anarchist taking on the entire police force and trapping them in the fifth precinct? Wealth, power, privilege and state authority are all taken for a ride: this is proletariat cinema at its best, made when Keaton was at his peak and during a time when the art of constructing visual narratives was finally becoming a seamless craft.
This film was refreshing to watch. Even if cliche and occuring more than once, the jokes were hilarious. The ladder scene is one of a kind. Buster Keaton is awesome, I miss him in a world of meaningless drama. Without any doubt he would be able to cast some light onto the confusion of a modern man.
With money that doesn't belong to him, Buster buys some furniture from a guy that doesn't own it. With the money left, he buys a horse and a coach that are not for sale, and the former owner gets a jacket without buying it. The real owner of the furniture helps Buster load it, although he's going to take it away.
A perfect short films, and one that showcases all of Keaton's strengths as a comedian. I don't know if I'd say this is his finest representation, but it's not far off. Cline was probably his greatest collaborating director.