The comments about the storm sequence of this film are well deserved, it is a high action extended sequence that showcases Keaton's physical talents and perfectly timed special effects as Keaton moves from one prop to the next. What struck me though was the surprising truth and depth to the relationship between the father and son. Though well discussed now, this examination of masculinity is brilliant and thoughtful.
A charmer. Its narrative doesn't cohere as well as Buster's very best—check out Sherlock Jr. and The Cameraman—feeling a bit too much like a string of gags in search of a forward momentum. Bonus points for the final string of wild mayhem, which is a corker. Sidenote: my god, this red state/blue state divide has been with us forever.
So great. Incomparable. I remember first seeing this when I was about four, and being amazed that the women could get their hair cut in the barbershop. Beauty salons seemed like torturous places to have to go, and here was a faster, more convenient way to deal with the hair thing.
This is the first film I have ever seen where you don't hear the characters voices at all and I enjoyed it. I've always payed attention to music in films and I liked how the music set the tone for the scene and helped portray the emotion. The actors/actresses also did a wonderful job exaggerating their facial expressions to express their emotion more clearly.
This movies mode is very meaningful. It maintained great choice of music in depicting a son searching for fatherly approval. The screenplay, although slow to start, grows increasingly comedic.I am very impressive with the film quality, theatrics and actor/actress portrayal of characters. The characters struggle for love brings up classical parental control over relationships including tensions between social classes.
Keaton is a madman. A stone-faced madman that seems to fling himself around his stunts with wild abandon (much like Jackie Chan would do later on). This silent classic tells a really solid story and is completely engaging. Great performances and, of course, jaw-dropping (and wall-dropping) stunt work! Loved it.
Jesus H. Christ. 90 years later and I still can't figure out how some of those stunts were done? Fucking genius. Keaton has eyes like goddamned poetry -my only complaint is that there weren't enough close ups as I would watch Keaton read the phone book (silently, obviously). Slapstick paper cuts? Yes, please. The General (1926) is probably regarded as his best work, but this is a very, very close second.
The film seems like a slow burner with Keaton and Steamboat Bill quietly simmering throughout but lacking steam until the final section where one of Buster's most admirable sequences take over and puts this film on the map. The visual gags are quite scattered and understated and the story feels pedestrian until the final fight against the wind elevates the best stuntman in history to the upper echelons of cinema.
Chaplin is often cited as the king of silent era comedy, but I do not find that to be fair. It may be true, but it is a title he shares with his counterpart: Buster Keaton. What is so amazing about Keaton is his impeccable skill as an acrobatic stuntman. The things he does physically in this film are often jaw dropping, and certainly not the kind of thing you would see today (mostly because it is insanely dangerous).
"Shrimp" (lol) paces against the wind; "I know what it is: you are ashamed of my baking" haha - serve hard-boiled dads this type of effeminate flirt only when sturdy jail bars cork up their irate delirium; when in the end Jr. leaps up the ship tiers to get hold of the steering wheel, the steamboat's a four-story, floating pagoda and though not sunken by the storm, the catawampus flotsam lends it a "Bateau ivre" air.