Best known for his silent slapstick films, the American comic actor, filmmaker, producer and writer Joseph Frank “Buster” Keaton sadly died of lung cancer on February 1, 1966, aged 70, in Woodland Hills, California. He was born October 4, 1895 . His trademark was physical comedy with a consistently stoic, deadpan expression, earning him the nickname “The Great Stone Face”. Buster Keaton was recognized as the seventh-greatest director by Entertainment Weekly. In 1999, the American Film Institute ranked Keaton the 21st-greatest male star. Critic Roger Ebert wrote of Keaton’s “extraordinary period from 1920 to 1929, when he worked without interruption on a series of films sadly though His career declined when he was hired by MGM. However, he recovered in the 1940s, remarried and successfully revived his career to a degree as an honored comic performer for the rest of his life, earning plaudits like an Academy Honorary Award in 1958.Orson Welles stated that Keaton’s The General is “the greatest comedy ever made, the greatest Civil War film ever made, and perhaps the greatest film ever made.”A 2002 worldwide poll by Sight & Sound ranked Keaton’s The General as the 15th best film of all time. Three other Keaton films received votes in the magazine’s survey: Our Hospitality,Sherlock, Jr., and The Navigator. At the age of three, Keaton began performing with his parents in The Three Keatons. He first appeared on stage in 1899 in Wilmington, Delaware. The act was mainly a comedy sketch. Myra played the saxophone to one side, while Joe and Buster performed on center stage. The young Keaton would goad his father by disobeying him, and the elder Keaton would respond by throwing him against the scenery, into the orchestra pit, or even into the audience. A suitcase handle was sewn into Keaton’s clothing to aid with the constant tossing. The act evolved as Keaton learned to take trick falls safely; he was rarely injured or bruised on stage.
February 1917, Keaton met Roscoe “Fatty” Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract toJoseph M. Schenck. Joe Keaton disapproved of films, and Buster also had reservations about the medium. During his first meeting with Arbuckle, he asked to borrow one of the cameras to get a feel for how it worked. He took the camera back to his hotel room, dismantled and reassembled it. With this rough understanding of the mechanics of the moving pictures, he returned the next day, camera in hand, asking for work. He was hired as a co-star and gag man, making his first appearance in The Butcher Boy. Keaton later claimed that he was soon Arbuckle’s second director and his entire gag department. Keaton and Arbuckle became close friends, In 1920, The Saphead was released, in which Keaton had his first starring role in a full-length feature. It was based on a successful play,The New Henrietta, which had already been filmed once, under the title The Lamb, with Douglas Fairbanks playing the lead. Fairbanks recommended Keaton to take the role for the remake five years later, since the film was to have a comic slant. A clip from the beginning of CopsAfter Keaton’s successful work with Arbuckle, Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week(1920), The Playhouse (1921), Cops (1922), and The Electric House (1922).
Keaton then moved to full-length features.A scene from steamboat Bill Jr. required Keaton to run into the shot and stand still on a particular spot. Then, the facade of a two-story building toppled forward on top of Keaton. Keaton’s character emerged unscathed, thanks to a single open window. The stunt required precision, because the prop house weighed two tons, and the window only offered a few inches of clearance around Keaton’s body. The sequence furnished one of the most memorable images of his career. Aside from Steamboat Bill Jr. (1928), Keaton’s most enduring feature-length films include Our Hospitality (1923), The Navigator (1924),Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), and The General (1927). The General, set during the American Civil War, combined physical comedy with Keaton’s love of trains, including an epic locomotive chase. Employing picturesque locations, the film’s storyline reenacted an actual wartime incident. Though it would come to be regarded as Keaton’s greatest achievement,.
One of his most biting parodies The Frozen North (1922), is a satirical take on William S. Hart’s Western melodramas, like Hell’s Hinges (1916) and The Narrow Trail (1917). In The Playhouse (1921), he parodied his contemporary Thomas H. Ince, Hart’s producer, who indulged in over-crediting himself in his film productions. The short also featured the impression of a performing monkey which was likely derived from a co-biller’s act (called Peter the Great). Three Ages (1923), Keaton’s first feature film, is a parody of D. W. Griffith’s Intolerance (1916), from which it replicates the three inter-cut shorts structure. Three Ages also featured parodies of Bible stories, like those of Samson andDaniel. In 1964, Keaton appeared with Joan Blondell and Joe E. Brown in the final episode of ABC’s circus drama, The Greatest Show on Earth, starring Jack Palance.In 1965, Keaton starred in the short film The Railrodder for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a motorized handcar, performing gags similar to those in films he made 50 years before. The film is also notable for being Keaton’s last silent screen performance. The Railrodder was made in tandem with a behind-the-scenes documentary about Keaton’s life and times, calledBuster Keaton Rides Again, also made for the National Film Board, which is twice the length of the short film. He played the central role in Samuel Beckett’s Film (1965), directed by Alan Schneider. Also in 1965, he traveled to Italy to play a role in Due Marines e un Generale, co-starring alongside with the famous Italian comedian duo of Franco Franchi and Ciccio Ingrassia.
Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that the studio system MGM represented would severely limit his creative input.Keaton was so depleted during the production of 1933’s What! No Beer? that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées. During this period, he made one other film in Europe, The Invader (released in America as An Old Spanish Custom in 1936). Upon Keaton’s return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera, featuring Buster in his own screenplay as an amateur-hour contestant. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films, A Night at the Opera, (which included developing the famous crowded stateroom scene. At the Circus (1939) and Go West(1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television
.In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for the series’ debut entry, Pest from the West, a shorter, tighter remake of Keaton’s little-viewed 1935 feature The Invader; The final entry was She’s Oil Mine, and Keaton swore he would never again “make another crummy two-reelerThroughout the 1940s, Keaton played character roles in both “A” and “B” features. He made his last starring feature Boom in the Moon (1946) in Mexico; the film was a low budget production, and it was not seen in the United States until its release on VHS in the 1980s. Critics rediscovered Keaton in 1949 and producers occasionally hired him for bigger “prestige” pictures. He had cameos in such films as In the Good Old Summertime (1949), Sunset Boulevard (1950), and Around the World in Eighty Days (1956). Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin’s Limelight (1952), recalling the vaudeville of The Playhouse. He was a non-speaking card player in Sunset Blvd. (1950), providing additional weight to the silent era echoes of the movie. In 1950, Keaton had a successful television series, The Buster Keaton Show, which was broadcast live on a local Los Angeles station. An attempt to recreate the first series on film as Life with Buster Keaton (1951), In 1960, Keaton returned to MGM playing a lion tamer in a 1960 adaptation of Mark Twain’s The Adventures of Huckleberry Finn. In 1961, he starred in The Twilight Zone episode “Once Upon a Time”, which included both silent and sound sequences. Keaton played time-traveler Mulligan, who traveled from 1890 to 1960, then back, by means of a special helmet. Keaton also had a cameo as Jimmy, appearing near the end of the film It’s A Mad, Mad, Mad, Mad World (1963). Jimmy assists Spencer Tracy’s character, Captain C. G. Culpepper, by readying Culpepper’s ultimately-unused boat for his abortive escape
Despite being diagnosed with cancer in January 1966, he was never told that he was terminally ill or that he had cancer; Keaton thought that he was recovering from bronchitis. Confined to a hospital during his final days, Keaton was restless and paced the room endlessly, desiring to return home. In a British television documentary about his career, his widow Eleanor told producers of Thames Television that Keaton was up out of bed and moving around, and even played cards with friends who came to visit at their house the day before he died. His Speak Easily co-star, Hedda Hopper, died the same day. Eleanor Keaton died in 1998, from emphysema and lung cancer, aged 80 .years.