Pretty Good

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Story: It's very simple but honestly that is fine.

This film is so real. It treats its characters with so much care and sensitivity.

Buster Keaton finds himself in the middle of a family feud in this story, or at least his character Willie McKay does. The Hatfield and McCoys are replaced in the picture by the Canfield and McKays, and Willie unwittingly becomes involved by developing a soft spot for his train traveling partner, Virginia Canfield (Natalie Talmadge). Once again, Keaton's comic genius is on display with the situations he creates and the energy he puts into doing his own stunts and pratfalls. The 'log over the waterfall' sequence had to be one of the most daring and innovative types of scenes ever filmed back in the 1920's, and Willie's 'save' of Virginia as she's about to go over the falls is a masterstroke of timing and camera work. I also got a big kick out of the scene in which a Blue Ridge Mountain hillbilly pelted stones at the west-bound train with the conductor retaliating by throwing pieces of firewood lumber back at him. That was a crafty way of stocking the fireplace back home with virtually none of the work!The best however is probably the rail switch that separates the train cars from the locomotive and how they bob and weave their way down the track before hooking up again. I don't know if Keaton had a penchant for trains, but one figures prominently here just as in one of his greatest feature length films, "The General". Fortunately, Keaton's McKay is able to make peace with the Canfield clan by the end of the story, closing out with yet another effective sight gag. As the Canfield father and sons lay down their weapons, Willie manages to set down close to a dozen of his own!

"Our Hospitality" isn't Buster Keaton's greatest film, but shows a young pioneer on his way.As Willie McKay, Buster inherits a family estate down South circa 1830. To stake his claim, Willie must survive two things: 1. A ride on the "iron monster" which chugs ungently across hilly terrain. 2. The "hospitality" of the rival Canfield clan who wants to send an unwary Willie to the boneyard with the rest of the McKays.Watching Buster riding a train down South immediately conjures up thoughts of his later "The General," and there are plenty of other signposts for Buster fans. After finding himself unable to wear his foppish top hat in a coach with a low ceiling, Buster shifts to more practical headgear: his trademark porkpie, which remains with him thereafter. He's even joined this one time by his real-life wife Natalie Talmadge, who plays a young woman smitten with Willie to both their perils.I was prepared to not like Talmadge, as she didn't have much of a career in movies other than making misery of Buster's private and professional life later on. But she's quite affecting here. Keaton and co-director Joseph Blystone do a lot to draw out a naturally reticent quality in Talmadge; she and Buster work well together…at least here.The opening section features a very serious, overplayed dramatic "prologue" that isn't really needed and puts things on the wrong footing tone-wise. Buster gets a lot of mileage from his clattering train prop, but overuses the same gags. A big stunt at the end involving a waterfall, while jawdropping, lacks the comic underpinnings typically found with Keaton. It could be something out of "Perils Of Pauline."Most critically, the pacing is off. There are many good gags and funny bits of business, but the set-ups take too long. I'm still amused watching the third straight slow-loading flintlock gag in as many minutes, and that's something, but you so often get more from Buster.Keaton's genius shines through in many places, though, particularly at the Canfield house where he is the unwelcome guest of his would-be killers. They operate under a strict code of honor that won't let them shoot a guest (though the same code apparently says nothing about shooting an unwary victim in the back). Watching Willie work every angle he can think of to stay a guest is Keaton in prime form, whether presenting a series of really bad dog tricks or dressing as a woman.And there are some stunts as funny as they are awesome, like one where Willie is actually "rescued" by one of the Canfields on a steep cliff, and the two men wind up tied to one another as killer and prey. The period comedy is good, too; like an early shot of Broadway and 42nd Street in Manhattan's cowtown days, when Willie sits a bicycle watching a lone wagon pass by: "This is getting' to be a dangerous crossin'!"There's enough of that to make "Our Hospitality" good fun, and the stunt work, however off tonally, remains amazing even today. If it's not as great as other Buster comedies, it's Buster's own fault for making his later work so much better than this.

This isn't one of Keaton's best efforts, but it still contains enough high spots to keep most viewers entertained. He plays a young man whose mother spirited him away from the Appalachian mountains after his father was killed by the members of a feuding family. Years later, Keaton returns to claim his inheritance (which turns out to be a derelict shack) only to find himself walking right into the household of the family with which his father had been feuding.The humour here isn't quite as physical as most of Keaton's work, but that doesn't stop him from devising some terrific sight gags, probably the best of which is the quirky railroad on which he makes his way back to his homeland. The tracks climb over small mounds in the ground, and can be pulled to one side when an errant donkey refuses to move out of the way, while the train travels at such a sedate pace that the dog Keaton thought he'd left at home is easily able to keep up with it and greet a confused Keaton when he arrives at his destination. Keaton's ability to convey that confusion without breaking his stone face is a measure of his effectiveness as a screen comedian, and you sort of end up wishing the silent era had lasted for another couple of decades so that his and the other comic giants' careers could have lasted longer.

This Buster Keaton piece of excellence focuses on a family feud in which Buster is the unwitting son, targeted by the neighbours of his late father's land. He meets the neighbours' daughter (real-life wife Natalie Talmadge) and falls in love with her, not knowing who she is.There are some lovely pieces of humour in this film, mainly around a railway journey into the far reaches of town. There are also breathtaking stunts involving a waterfall, which still bring gasps and applause when seen in a cinema today.A superb film, funny, inventive, and boasting a great performance from the stone-faced Keaton. Perhaps not as lauded as The General or Steamboat Bill Jr., but certainly no slouch when compared to them.