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!
Bu film şu anda MUBI'de gösterimde değil ama gösterimde olan 30 harika film var. Lütfen şimdi gösterimde sayfamızı ziyaret et.
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....
Wonderful Keaton short as he wreaks havoc among the police force, the pillars of authority and respectability, in a vain attempt to stand up to the test of respectability himself in order to conquer a woman. The chase scenes, the gags, the stunts are superbly choreographed and the film's circular structure plays well with movement, stasis and the ultimate absorbtion of the individual in the collective. Great fun!
You start out trying to be the man your girl wants you to be and end up with every cop in the city after you. The set-up of clever coincidences segues into a 15 minute or so chase scene. Keaton was an early master of chase scenes and many of his early shorts like this were basically set-up/chase scene. This isn't his best, but they're all good.
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.