I found the plot to be really interesting to watch unfold, but most of all, I like how Keaton's persona starts to take shape, including his trademark deadpan expression. Tehnically, both the gags and the stunts themselves are a wonder to watch, even to this day, showing just how ahead of their time these movies must have been. Also worth noting is the two protagonists' chemistry, which I thought was really well done.
A house built by Numérobis. A house-warming lunch on a Friday 13th. A Super Mario jump. The hand that covers the camera, cos this is america people 'no nudity, please'. A Ford model T pulling a HOUSE. The front-wall from the house's front almost crushing Keaton to death (a gag he'd use later on 'Steamboat Bill, Jr')>THE best stunt guy EVER! A comedic genius only Chaplin, Lubitsch, Tati & Jerry Lewis managed to rival.
The bathroom scene when wife drops the soap while taking a bath and presumably the camera operator's hand from behind the camera covers the lens while she picks it up is hilariously clever and very Brechtian. Reminding the audience of 1920 and even now that it is just a spectacle and someone is behind that camera. Good on you Keaton.
Doesn't quite have all the energy and ingeniousness of later films, but Keaton's first solo effort to be released commercially still shows that he had it from the start. Fantastic use of the house as a prop, and of course the bathroom scene might be the most memorable. Seely is a really cute companion, probably my favourite so far.
I had a date in college where we were going to watch a movie projected in my room. I wanted to watch City Lights. The girl had never seen a silent film she thought it was going to be really boring. I said "I'll show you a short silent movie and if you don't like it we will watch something else", and showed her this. She was converted in 20 minutes.