To me, this movie is perfection.

That was an excellent one.

Absolutely Fantastic

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

In this 20-minute black-and-white short film from soon 100 years ago, Buster Keaton has quite challenge coming up. A man pays him to be his bodyguard and protect him, while a gang of crooks want him to kill that man. Of course, the two do not know about each other. I personally wondered how Keaton got involved with these criminals as he seems to be a quite harmonious man in this movie. Of course, the protagonist also wrote and directed this work here, together with his longtime collaborator Edward F. Cline. Surprisingly, Ingram B. Pickett who plays (not so) Tiny Tim does not have a most prolific movie career. He looks to me like a perfect choice for villain roles in these very early films. Al St. john is in this one as well.I personally thought this wasn't a bad short film at all. I just wished there could have been more focus on this main plot with on whose side Buster is on. The first 10 minutes of the film feel like an overlong prologue to the actual story unfortunately. And even when he got his two assignments, there is still a lack of focus as the story drifts completely away at one point when Buster is robbed in his own store after handing the robber even one of his own guns. And there is a love story included with the daughter of the man Buster has to protect. But this one is also slightly underwhelming compared to other love stories in the early days of cinema. The funniest thing about it may have been the intertitles, for example the one early on with all these b-words. However, all in all, I hoped for more. Not recommended.

Up until the thrilling conclusion, this seemed like a lesser Keaton film. Apparently Keaton himself wasn't thrilled with the results either, as he shelved this for a year before it was released--and only because Keaton had an injury and the public was clamoring for more films from this master comedian. However, given the amazing final portion of the film, I think Keaton was premature in holding the film from circulation as the overall product is excellent.The film begins with Buster looking for a job. Following an ad in a very strange newspaper, he applies for a job at a shooting gallery at the beach. The problem, however, is that they want an expert shot and Buster is a klutz. So, using some ingenuity, he is able to fake his way into a job. What he doesn't realize, however, is that the man who owns the business is actually the leader of a group of extortionists and assassins. The title of the film refers to the secret sign the members use to recognize each other. Well, because Buster did such a good job of convincing the guy he was a great shot, he is invited to join this secret society and he is given the job of killing a man--the same man who Buster already agreed to protect as a body guard! Once the gang discovers Buster is NOT going to kill the man, the film shoots into high gear--with amazing stunts in a house built specially for the film and using amazing camera work to show what is happening in all four rooms at the same time.Keaton's acrobatics are at their finest here and the film is a classic. Watch it!

Some people -- to paraphrase Mel Brooks -- call Buster Keaton a genius. But that's both too little and too much to give him credit; Einstein was a genius, Keaton... is incredible.In the Fatty Arbuckle films he's amusing in what we tend to put down as a 'silent-comedy' way, a {by and large} straight-faced clown in a world of food fights, cross-dressing, clumsy cops and general anarchy. After exposure to a few hours of these I was, frankly, ready to write Keaton off as simply another sub-Laurel-and-Hardy slapstick act -- in the Arbuckle shorts he's reasonably funny but nothing to rave over. And then, suddenly, in the middle of the programme, came "The High Sign"... and it knocked me for six here, there, and into the middle of next week.As a solo debut it's nothing short of astounding. It's the spectacle of a great talent emerging fully-formed and all at once into unique existence, like Athena from the head of Zeus. From the opening scene, the style, the humour, the devices, the sheer *intelligence* are instantly, blazingly original: this isn't just 'silent comedy' to be laughed at and over by the modern public with an air of faint condescension, it's surreal and hilarious and utterly gifted to side-splitting effect by anyone's standard. It was like nothing I'd ever seen before. And the audience reaction -- from the former good-natured 'look-he's-dipped-the-bouquet-in-the-dirty-oil' laughter to the sudden roar of genuine surprise and delight -- was instant and electric. Suddenly, it was we who were eighty years behind the times, belated recipients of a moment of magic. Director, acrobat, actor, gag-writer, cinematographer, stuntman... for the first time Buster Keaton was set free into the universe of his own imagination, with confidence, grace and meticulous inventive brilliance, and before our eyes -- how could we not know it? -- a star was born.Even more incredible to learn, and yet true, is the fact that Keaton himself rejected and suppressed this first film as insufficiently original, holding up release for a year: no-one ever saw it at the time. He knew he could do better and, unbelievably, he was right. But that's another story...

What amazes me in every Buster Keaton short is how good the physical action is. In 'The High Sign' he has the perfect setting to show us his tricks. In a house where there must be a secret escape in every room he has to escape from a couple of guys who do not like him very much because he betrayed them. He had to kill a certain person but faked the whole thing.The story in a Buster Keaton short is not that important. Once he starts doing those great things on screen I don't want it to end. The camera is able to see four rooms at the same time and Keaton moves from room to room, through walls and ceilings. It is all great.