Watching Buster Keaton's movies after 1929, where when he no longer had creative control, is a bit like seeing a magnificent animal in a zoo. He's a stunning creature that captivates us, I mean this is Buster Keaton after all, but we cannot help but feel sad for him.
In this case, we do get enough glimpses of him running free, both literally and figuratively, that the film is at least worth watching. The scene I liked best was the one on the train tracks, which he actually recycled from 'One Week' (1920), but it's still fantastic. I also liked him climbing down a wall from a second story balcony, sprinting about the grounds, and diving into a pool along the way. He does some nice physical comedy with Charlotte Greenwood, making an interesting pair with her because of their heights (she was 5'9" vs. Keaton 5'5"). In one shot they're behind a telephone pole, with him standing on her shoulders. In another she lifts him off the ground during a passionate embrace, and his legs are up in the air. The film has a silly plot, as he also gets amorous with a couple other women (Joan Peers and Natalie Moorhead) to prove he's virile enough for a third (Dorothy Christy), so that she can get married, so that her younger sister in turn can get married (yes yes, sheesh). However, there are some other cute moments to help offset that, such as him slipping all over the wet hotel floor with several others, even if that bit was probably taken too far.
I also thought some of the pre-Code bawdiness was amusing, such as Christy telling a suitor early on that she's dropping him because he "doesn't come up to specifications" after seeing him in a bathing suit. "You can't judge a husband in a bathing suit," he says. "No, but you can get a rough idea," she answers before walking off. Later, after Buster checks in to a hotel with Peers as Mr. and Mrs. Smith, she's all wet, so Buster looks into his suitcase to see if he has anything dry she can wear. She pulls out lingerie, and asks Buster why he has it. "Oh, I always carry those things,' he says. "Reggie, you wicked, wicked man," she responds.
It's Greenwood that has some real fun though, trying to arouse the shy Keaton. After striking a pose only to have him stand there dumbfounded, she quips "Well come and get this, are you anchored?" As he tentatively puts his arms around her, she sarcastically says "I am here for a quite evening. You know, you're dead and you won't lay down." Later she notes "You have all the passion of an infuriated clam." Another that brought a smile was her saying "I'm not supposed to be your maiden Aunt, I'm supposed to be party of the second part in a regular orgy. In a regular orgy! In a kiss! Let me show you a kiss!" ... but humorously pronouncing the 'g' in orgy hard, as in goat.
Of course, as Buster goes from shy and awkward, to a riled up sex maniac, this extended sequence in the hotel where he makes out with four different women isn't exactly politically correct. If you're a Keaton fan, there's enough here to make it watchable, just guard your expectations and enjoy seeing him. If you're not a Keaton fan (yet), skip this one and start with his earlier work.
In this case, we do get enough glimpses of him running free, both literally and figuratively, that the film is at least worth watching. The scene I liked best was the one on the train tracks, which he actually recycled from 'One Week' (1920), but it's still fantastic. I also liked him climbing down a wall from a second story balcony, sprinting about the grounds, and diving into a pool along the way. He does some nice physical comedy with Charlotte Greenwood, making an interesting pair with her because of their heights (she was 5'9" vs. Keaton 5'5"). In one shot they're behind a telephone pole, with him standing on her shoulders. In another she lifts him off the ground during a passionate embrace, and his legs are up in the air. The film has a silly plot, as he also gets amorous with a couple other women (Joan Peers and Natalie Moorhead) to prove he's virile enough for a third (Dorothy Christy), so that she can get married, so that her younger sister in turn can get married (yes yes, sheesh). However, there are some other cute moments to help offset that, such as him slipping all over the wet hotel floor with several others, even if that bit was probably taken too far.
I also thought some of the pre-Code bawdiness was amusing, such as Christy telling a suitor early on that she's dropping him because he "doesn't come up to specifications" after seeing him in a bathing suit. "You can't judge a husband in a bathing suit," he says. "No, but you can get a rough idea," she answers before walking off. Later, after Buster checks in to a hotel with Peers as Mr. and Mrs. Smith, she's all wet, so Buster looks into his suitcase to see if he has anything dry she can wear. She pulls out lingerie, and asks Buster why he has it. "Oh, I always carry those things,' he says. "Reggie, you wicked, wicked man," she responds.
It's Greenwood that has some real fun though, trying to arouse the shy Keaton. After striking a pose only to have him stand there dumbfounded, she quips "Well come and get this, are you anchored?" As he tentatively puts his arms around her, she sarcastically says "I am here for a quite evening. You know, you're dead and you won't lay down." Later she notes "You have all the passion of an infuriated clam." Another that brought a smile was her saying "I'm not supposed to be your maiden Aunt, I'm supposed to be party of the second part in a regular orgy. In a regular orgy! In a kiss! Let me show you a kiss!" ... but humorously pronouncing the 'g' in orgy hard, as in goat.
Of course, as Buster goes from shy and awkward, to a riled up sex maniac, this extended sequence in the hotel where he makes out with four different women isn't exactly politically correct. If you're a Keaton fan, there's enough here to make it watchable, just guard your expectations and enjoy seeing him. If you're not a Keaton fan (yet), skip this one and start with his earlier work.