In the Good Old Summertime (1949) starring Van Johnson, Judy Garland, S. Z. “Cuddles” Sakall, Buster Keaton
In the Good Old Summertime is the story of two clerks in a turn of the 20th century Chicago sheet-music store. They’re intensely antagonistic toward each other at work. But unknown to them, they’re getting very chummy as pen pals. It’s a musical remake of The Shop Around the Corner.
Battling Butler (1926) starring Buster Keaton, Sally O’Neil, Francis McDonald
Buster Keaton remarked that Battling Butler was his favorite of all his films. Based on a Broadway play, the story revolves around a case of mistaken identity between two Alfred Butlers. One is an effete millionaire (Keaton), the other the heavyweight champion of the world (Francis McDonald). Coincidence brings them to the same backwoods Kentucky neighborhood, where Keaton finds love with a mountain girl. But not before antagonizing Butler-the-brute into a Madison Square Garden grudge match.
Editorial review of College, starring Buster Keaton, courtesy of Amazon.com
Buster Keaton goes back to school and stages a hilarious send-up of university life in College. Keaton stars as Ronald, an idealistic freshman who attends Clayton College in pursuit of higher learning, but finds himself instead embroiled in a war of athletics as he fights for the heart of his beloved coed, Mary (Anne Cornwall).
Editorial review of Buster Keaton Short Films Collection, courtesy of Amazon.com
For the first time ever, Kino International proudly presents a box set of all of Buster Keaton’s classic silent short films in one collection. All films have been digital remastered in high definition and include all new extras. —– DISC 1: THE HIGH SIGN (1920/21 – B&W – 19 Min.), ONE WEEK (1920 – B&W – 24 Min.), CONVICT 13 (1920 – B&W – 19 Min.), THE SCARECROW(1920 – B&W – 18 Min.), NEIGHBORS (1921 – B&W – 19 Min.), THE HAUNTED HOUSE (1921 – Color Tinted – 20 Min.), HARD LUCK (1921 – B&W 21 Min.). —– DISC 2: THE GOAT (1921 – B&W – 23 Min.), THE PLAY HOUSE (1921 – B&W – 23 Min.), THE BOAT (1921 – B&W – 23 Min.), THE PALEFACE (1922 – B&W – 20 Min.), COPS (1922 – B&W – 18 Min.), MY WIFE’S RELATIONS (1922 – B&W – 17 Min.). —– DISC 3: THE BLACKSMITH (1922 – B&W – 21 Min.), THE FROZEN NORTH (1922 – B&W – 17 Min.), DAY DREAMS (1922 – B&W – 19 Min.), THE ELECTRIC HOUSE (1922 – B&W – 23 Min.), THE BALLOONATIC (1923 – B&W – 22 Min.), THE LOVE NEST(1923 – Color Tinted – 20 Min.) —– SPECIAL FEATURES: Fifteen visual essays illustrated with clips and stills, written by various Keaton experts,
Buster Keaton’s silent film, Seven Chances, in a nutshell, laugh out loud funny — I watched it last night on Turner Classic Movies with some of my children, and we were all laughing loud, long, and repeatedly.
Coney Island (1917) starring Fatty Arbuckle, Buster Keaton, Al St. John
Coney Island is a silent short comedy starring Roscoe “Fatty” Arbuckle, with Buster Keaton in a secondary role. Buster is interesting to watch, in that he hasn’t yet developed his trademark stoneface personality, and can be seen laughing, etc.
Editorial Review of Buster Keaton – 65th Anniversary Collection, courtesy of Amazon.com
An entire missing segment of Buster Keaton’s career is filled in with the release of this collection, which comprises the 10 shorts Keaton made at Columbia Pictures in 1939-41. If you’re a Keaton fan (and why on earth wouldn’t you be?) this section of the great man’s work has always been in dispute–and above all, hard to see. After his career collapsed at the beginning of the 1930s, Buster Keaton struggled to find a niche in Hollywood, and the Columbia contract was essentially his last sustained opportunity to headline in films on a regular basis. It was a difficult fit from the start: Keaton did not have the artistic control he enjoyed over his 1920s classics, and director Jules White (who helmed most of the Columbia shorts) had a radically different view of comedy from his star. White guided the hijinks of Columbia’s busiest comedy stars, the Three Stooges, and his leadpipe-to-the-noggin style did not mesh well with Keaton’s measured, logical approach.