La storia di Buster Keaton

The weird thing about this film is it's NOT the Buster Keaton story at all. The main character is a fictional studio executive named Gloria who falls in love with Buster (inexplicably, as he's portrayed as a graceless, unattractive slob) and puts her happiness and career on the line in order to nurture and protect him as he chases another woman, blows all his money and drinks himself silly. The surprisingly faithful recreations of classic Keaton routines dropped in awkwardly here and there do nothing to relieve the tedium of this glum, sour women's picture masquerading as a biopic.

I'm sure that Donald O'Connor gave Buster Keaton the performance of his life as he would like to be remembered. It certainly wasn't anything close to the life of the real Keaton.

In his prime Keaton, Lloyd, Laurel, and Chaplin contended for being the greatest of silent screen comedians with most conceding Chaplin was best. The others are still remembered for their wonderful routines and for the fact that they survived and made the transition to sound. So did the real Buster Keaton, but not as a star.

The best part of the film is Donald O'Connor recreating some of the classic routines that Keaton did from the silent screen. No doubt Buster worked with O'Connor because he sure got them down quite well.

Ann Blyth and Rhonda Fleming played the women in Keaton's life composites of women he was actually involved with in real life. Peter Lorre has an interesting part as well as a director who Keaton runs roughshod over in his star days, but who Lorre rather subtly gets back at when the movies transition to sound.

In real life it wasn't as simple for Keaton as talking or not talking. When later on he did do the bit parts in films that he scorns on the screen when producer Larry Keating offers him a role, Keaton did have a voice that matched his stoic stone face.

One thing I disagree with. In his case it was right for him never to crack a smile, very much like George Burns. But people like Red Skelton were always laughing at their own material and the audience didn't seem to mind. Different attitudes get different latitudes.

The Buster Keaton Story is not a great film, but O'Connor does well in the role and I'm sure Buster liked it.

Having subjected myself to this film again, I found it was possible to find some small enjoyment in it by seeing it all as a big put-on, where the utter falsity of everything presented was itself a joke of sorts (whatever the filmmakers' actual intentions were, which I don't really care to know).

O'Connor was no slouch when it came to physical comedy, so he was a natural choice to play the part and does well in the scenes that recreate authentic Keaton gags, redeeming the film somewhat. Even so, these recreated gags don't always make sense in the context in which they're presented, and in any case, there are not enough of them to make up for all the other nonsense.

If you want to learn the facts about Marion Davies, you don't watch "Citizen Kane." If you want to learn the facts of the St. Valentine's Day Massacre, you don't watch "Some Like it Hot." Similarly, don't watch "the Buster Keaton Story," if you want to learn the facts of Keaton's amazing life. This is what Keaton and some other people thought would be entertaining for a 1957 audience to know about Buster Keaton. It emphasizes three points 1. Keaton was a vaudeville child performer and became a big star in Hollywood Silent films in the 20s, 2. When sound came in some mean people in Hollywood forced him to talk in ways he didn't like and this caused his films to bomb and he became an alcoholic, and 3. Later Keaton with the help of a good woman who loved him, found appreciation again when he returned to live audiences.

The bad part is that there are no other real historical characters besides Keaton and his parents (for four minutes) in the film. Not only names but also characters have been changed and generalized into types , probably to avoid lawsuits. Even the clothes are not of the historical period.

The good part is that it is still an interesting story with very good acting, especially by. Donald O'Connor, Ann Blyth, Rhonda Fleming, Peter Lorre and Larry Keating.

The best part is that we know that Buster Keaton as the technical advisor on the film recreated about 15 of his great bits and gags from his early films. One of the funniest was a brief recreation of a great scene with Thelma Todd from the movie "Speak Easily," where he tries to put a drunk woman on a bed.

Take the movie for what it is: a fictional biography by and about Buster Keaton, and you will enjoy it. Take it for what it is not: a true biography of Keaton, and you will be disappointed.

Donald O'Connor does an amazing job recreating Buster Keaton's style and routines in this otherwise dreadful script, credited to Sidney Sheldon and Robert Smith. Buster was arguably a finer comedian than Chaplin, but fell into alcoholism for a number of reasons. This script has so little to do with his life it should never have been titled as it was. Read a real biography, and watch some of Buster's many wonderful movies, including his last, "The Railrodder". I remember watching "Waterworld (1995)", and thinking how poorly it compared to "Steamboat Bill, Jr. (1928)", not least on value for the money expended on making it. And don't watch another movie until you have seen "The General (1927)". His movies are his biography, not this rotten script.