Re: THE CINEPHILE MASTURBATORIUM (All-Encompassing Movie Thread)
Posted: Mon Aug 01, 2022 10:06 am
Sherlock Jr. (1924)
Keaton-mania continues.
While this was no Go West it had plenty going for it. In fact I would call this a must-see for action fans.
Everything feels real because it was real. Real jumping from heights, real cars, and real trains which at one point almost chop Buster in half for a quick gag.
The reaper's shadow is a constant presence and Buster almost bites the dust about a hundred times.
My favourite part was a scene where his fiancées naive, girlish facade gives way to the brutal rapaciousness of the female animal as she forcefully and deliberately slams her hand down for Buster to take in flirtation, in response to him having shyly pulled his away on attempt number 1. This was a Hollywood that could still depict deep truths and do so concisely.
Speaking of truths, the ending is a shocker. From the projectionist booth, we see the events on the silver screen bear a similarity to the events taking place in "reality". Buster begins to take cues from the male lead in the film he's projecting, not knowing what to do with his fiancées feigned (something we the audience know) distress. First taking her by the shoulders, then taking her hands and finally giving her a little kiss. The theater's film then shows the pair in a domestic setting with a pair of infant twins, Buster is confused by the skipped scene. A filthy joke, but pretty good.
Keaton-mania continues.
While this was no Go West it had plenty going for it. In fact I would call this a must-see for action fans.
Everything feels real because it was real. Real jumping from heights, real cars, and real trains which at one point almost chop Buster in half for a quick gag.
The reaper's shadow is a constant presence and Buster almost bites the dust about a hundred times.
My favourite part was a scene where his fiancées naive, girlish facade gives way to the brutal rapaciousness of the female animal as she forcefully and deliberately slams her hand down for Buster to take in flirtation, in response to him having shyly pulled his away on attempt number 1. This was a Hollywood that could still depict deep truths and do so concisely.
Speaking of truths, the ending is a shocker. From the projectionist booth, we see the events on the silver screen bear a similarity to the events taking place in "reality". Buster begins to take cues from the male lead in the film he's projecting, not knowing what to do with his fiancées feigned (something we the audience know) distress. First taking her by the shoulders, then taking her hands and finally giving her a little kiss. The theater's film then shows the pair in a domestic setting with a pair of infant twins, Buster is confused by the skipped scene. A filthy joke, but pretty good.