the
honeymoon
by Douglas Messerli
Edward F. Cline and Buster Keaton
(screenwriters and directors) One Week
/ 1920
In the first film released by Keaton’s Comique
Film Corporation that he took over when Roscoe “Fatty” Arbuckle moved to
Paramount, the noted comedian tackled the tricky subject of a new married
couple attempting to build a house. Upon leaving the wedding chapel, the Groom
(Buster Keaton) and Bride (Sybil Seely) take a rather horrifying drive home
with the Bride’s former suitor, who every time the couple attempts a kiss,
turns back to them, frustrating their attempts at intimacy. At one point,
evidently out of her frustration, the Bride leaves the car to enter a passing
automobile, with the Groom attempting, soon after, to join her. He, however, is
trapped between the vehicles, his legs outstretched as a motorcycle race
between the two cars, carrying him away with it. After a fall from the cycle,
the Groom, knocking out a traffic cop, quickly replaces him, as he directs his
wife’s car toward another path and joins her, free, at last, of the unwanted
intruder.
This first series of events gives us a glimpse of the honeymoon problems
this couple will face, as they quickly discover that it is nearly impossible to
get rid of the jealous former suitor. As a wedding present the couple has been
sent by the Groom’s uncle a build-it-yourself house, with the materials
gathered into bundles and numbered, a set of instructions on top of the first
batch. The Bride sets up a sort of outdoor kitchen, while the Groom goes to
work on the 9th number on their list, planning, as the instructions promise, to
finish the new abode within the week.
The Groom, it soon becomes obvious, is not a natural carpenter, sawing
himself off of beams while walls of the partially constructed house, come
crashing to the ground. He is saved by his accidental location, which matches
the position of an open window. But even further havoc is caused by the former
suitor, who renumbers the packages, so that as the building slowly comes into
existence, we see it developing with a series of surrealist-like angles, a roof
too small for the structure, a porch leaning in triangulate corners, and
windows slanting in opposing directions. Walls flip from inside to out, rooms
lead to nowhere. The final result, indeed, looks something like a Frank Gehry
creation, without any of the great architect’s grace.
The delivery of his wife’s piano causes further difficulties as, upon
its arrival, it falls upon the Groom, trapping him beneath. The piano mover
lifts it only so that the Groom can sign for its delivery, dropping it upon him
again. Now the problem is to get the piano into the house. The Groom rigs up a
series of metal links which he attaches to a chandelier while the Bride drapes
them around the instrument. As he pulls on the links, the ceiling sags at the
very place where the former suitor, “helper,” sits upstairs, he sinking along
with the floor. Suddenly realizing what is happening, the Groom lets loose of
his pulley, the former suitor being propelled through the roof as the floor
returns to place. The Groom must use the porch railing as a ladder to free his
arch enemy, while accidentally delivering justice by hitting him on the head
with a metal pipe.
The couple is delighted at the end of the week by the house’s completion
and, despite the absurd look of the house, invite in friends to celebrate. But
as they begin a tour of the home, a windy storm whips through the countryside,
pouring its rainy contents through the open spaces of the roof. Umbrella in
hand, the Groom climbs to the outside to check it out, while the house, caught
up in the wind, begins, at first slowly, then faster and faster, to spin, he attempting
to reenter it and save his rolling wife and her guests, but unable to gain
enough velocity to enter. The scene is one of the most amazing sight gags of
all time, particularly when one realizes that the house was a real construction
against which Keaton is pushed and pulled time after time.
Even when the rain subsides, there are more troubles ahead, as the
couple is told that they have built the house on the wrong side of the tracks.
A car attempts to pull the house to the other side, but it becomes stuck on the
tracks as a train speeds toward it. Fortunately, the train passes by on another
set of tracks, but a second later another train—it, on the “right” set of
tracks—crashes through, demolishing the monster do-it-yourself-project.
The couple escapes from the debacle just in time, the Groom, returning
with the equanimity he has shown throughout all the film’s disasters, to post a
“For Sale” sign. Having survived this terrible first week of their
relationship, it is clear this couple can survive anything that might come
their way in their future.
Los Angeles, January 1, 2012
Reprinted from International Cinema Review (January 2012).
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