a matinee idol behind the camera
by Douglas Messerli
Clyde Bruckman and Lew Lipton
(writers), Edward Sedgwick and Buster Keaton (directors) The Cameraman / 1928
Buster Keaton’s The Cameraman is an absolutely splendid comedy that also saw the
beginning of his decline. The move to MGM, with its film factory-like
techniques, eventually did away with Keaton’s improvisatory methods, and
demanded even more formulaic comedic plots.
In another scene, Keaton plays with the rather
homoerotic tropes that often appear in his films, as his character is forced in
a small changing room with a large man, with whom he must struggle in order to
put on his bathing suit; ultimately the two appear in each other’s swimming
gear, which hints at the intimacy of their bodies and comically suggests the
exchange of identities that often occurs in the intensity of sex.
The longest film-scene, a gangland battle in Chinatown, was ordered up
by studio head, Irving Thalberg, much to Keaton’s distress, but it’s still
wonderful filmmaking, and Keaton even was able to mock the shoot by placing a
small monkey on his back throughout.
Keaton is even able to mock studio
executives further by allowing the monkey to switch reels, losing him, at
first, any possibility of winning over Sally, but finally vindicating his
talent and his lover for her; when the reel is rediscovered it also revealed
that it was he, and not his enemy, Harold Stagg (Harold Goodwin) who saved
Sally’s life. In short, The Cameraman is
so much fun, in part, because Keaton, although now drinking more heavily and
getting a bit too old to play the naïve innocent, appears to be willing to let
the audience in on the jokes. For even his double-exposed and apparently
under-lit images are so much better, to my taste, than almost any of Chaplin’s
carefully composed and over-rehearsed shots.
When it appears that Keaton has lost the
girl, and he walks off as a kind of Chaplinesqe figure, we still recognize him
as a bigger man than the Little Tramp. And Keaton’s true beauty comes through at
all moments. We side with him not simply because he is an ordinary man prone to
dozens of daily pitfalls, but for the fact that he truly is a kind of matinee
idol underneath who, despite all the handsome boys that swarm around Sally, is
the one she truly deserves—something I believe both he and the listed director,
Edward Sedgwick, were deeply aware of. There is always a kind of secret sexual
energy behind Keaton’s best performances, even when he plays an absolute
innocent. If nothing else The Cameraman truly
reveals that if Chapin was cute, and Harold Lloyd a kind of likeable nerd,
Keaton, behind his constant pratfalls, was a truly beautiful being. Even a
monkey could recognize that. Unfortunately, this film would be his last great work, with MGM, a
company change that he described the worst decision of his life, ultimately
draining all Keaton’s brilliant comedic subtlety.
Los Angeles, January 10, 2018
Reprinted from World
Cinema Review (January 2018)
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