Login/Register

The List Thus Far (Certified Weird Movies)

3 Women (1977)

8 1/2 (1963)

The 5,000 Fingers of Dr. T (1953)

The Adventures of Buckaroo Banzai Across the Eighth Dimension (1984)

Akira (1988)

Alice [Neco Z Alenky] (1988)

Alice in Wonderland (1966)

Allegro non Troppo (1976)

Altered States (1980)

The American Astronaut (2001)

Antichrist (2009)

Archangel (1990)

Bad Boy Bubby (1993)

Barbarella (1968)

Barton Fink (1991)

The Beast of Yucca Flats (1961)

Beasts of the Southern Wild (2012)

Begotten (1991)

Being John Malkovich (1999)

Belle de Jour (1967)

The Black Cat (1934)

Black Swan (2010)

Blood Diner (1987)

Blood Tea and Red String (2006)

A Boy and His Dog (1975)

Branded to Kill (1967)

Brazil (1985)

Bronson (2008)

Careful (1992)

Carnival of Souls (1962)

Cemetery Man [Dellamorte Dellamore] (1994)

Un Chien Andalou (1929)

The City of Lost Children [La cité des enfants perdus] (1995)

Clean, Shaven (1993)

A Clockwork Orange (1971)

Cowards Bend the Knee, or, the Blue Hands (2003)

Daisies [Sedmikrásky] (1966)

The Dark Backward (1991)

Dead Man (1995)

Dead Ringers (1988)

Delicatessen (1991)

Dillinger is Dead (1969)

Doggiewogiez! Poochiewoochiez! (2012)

Dogtooth [Kynodontas] (2009)

Dogville (2003)

Donnie Darko (2001)

Don't Look Now (1973)

Elevator Movie (2004)

Enemy (2013)

Enter the Void (2009)

Eraserhead (1977)

Escape from Tomorrow (2013)

Eternal Sunshine of the Spotless Mind (2004)

Even Dwarfs Started Small (1970)

Evil Dead II (1987)

Eyes Without a Face [Les Yeux sans Visage] (1965)

Fantastic Planet [La Planète Sauvage] (1973)

Fear and Loathing in Las Vegas (1998)

Fellini Satyricon (1969)

Final Flesh (2009)

Forbidden Zone (1982)

Funky Forest: The First Contact (2005)

Glen or Glenda (1953)

Gothic (1986)

Gozu (2003)

La Grande Bouffe (1973)

Greaser's Palace (1972)

Gummo (1997)

Häxan [Witchcraft Through the Ages] (1922)

Hedwig and the Angry Inch (2001)

Help! Help! The Globolinks [Hilfe! Hilfe! Die Globolinks] (1969)

Holy Motors (2012)

The Holy Mountain (1973)

The Horrors of Spider Island [Ein Toter hing im Netz] (1960)

House [Hausu] (1977)

Howl's Moving Castle (2004)

I Can See You (2008)

Idiots and Angels (2008)

I'm A Cyborg, But That's OK [Saibogujiman Kwenchana] (2006)

The Immaculate Conception of Little Dizzle (2009)

L'Immortelle (1963)

Ink (2009)

INLAND EMPIRE (2006)

Institute Benjamenta, or This Dream People Call Human Life (1995)

Jacob's Ladder (1990)

John Dies at the End (2012)

Johnny Got His Gun (1971)

Keyhole (2011)

Kontroll (2003)

Kung Fu Hustle (2004)

Kwaidan (1964)

The Lair of the White Worm (1988)

The Legend of Suram Fortress [Ambavi Suramis Tsikhitsa] (1984)

Lisztomania (1975)

Little Otik [Otesánek] (2000)

Lost Highway (1997)

Love Exposure (2008)

Lucifer Rising (1981)

Maelstrom (2000)

Malpertuis (1972)

Maniac (1934)

Marquis (1989)

Meshes of the Afternoon (1943)

The Milky Way [La Voie Lactee] (1969)

Mr. Nobody (2009)

Mulholland Drive (2001)

Naked Lunch (1991)

Night of the Hunter (1955)

Night Train to Terror (1985)

Nosferatu (1922)

Nostalghia (1983)

O Lucky Man! (1973)

Pan's Labyrinth (2006)

Paprika (2006)

Performance (1968/1970)

Persona (1966)

Phantasm (1979)

Pi (1998)

The Pillow Book (1996)

Pink Flamingos (1972)

Pink Floyd the Wall (1982)

Prospero's Books (1991)

The Red Squirrel [La Ardilla Roja] (1993)

The Reflecting Skin (1990)

Repo Man (1984)

A Report on the Party and Guests (1966)

Repulsion (1965)

Robot Monster (1953)

The Rocky Horror Picture Show (1975)

Rubber (2010)

Run Lola Run (1998)

The Saddest Music in the World (2003)

Sans Soleil (1983)

Santa Sangre (1989)

The Science of Sleep (2006)

A Serious Man (2009)

Shanks (1974)

Shock Corridor (1963)

Silent Hill (2006)

Sin City (2005)

The Singing Ringing Tree (1957)

Skidoo (1968)

Solaris [Solyaris] (1972) -

Songs from the Second Floor (2000)

Stalker (1979)

Steppenwolf (1974)

Strange Frame: Love & Sax (2012)

Suspiria (1977)

Sweet Movie (1974)

The Swimmer (1968)

Synecdoche, New York (2008)

Tales from the Quadead Zone (1987)

Taxidermia (2006)

Tetsuo: The Iron Man (1989)

Tideland (2005)

Time Bandits (1981)

The Tin Drum (1979)

Tokyo Gore Police (2008)

El Topo (1970)

Toto the Hero [Toto le Heros] (1991)

Trash Humpers (2009)

The Tree of Life (2011)

The Trial (1962)

The Triplets of Belleville (2003)

Tromeo & Juliet (1996)

Uncle Boonmee Who Can Recall His Past Lives (2010)

Upstream Color (2013)

Valerie and Her Week of Wonders (1970)

Vertigo (1958)

Videodrome (1983)

Visitor Q (2001)

Waking Life (2001)

Weekend (1967)

The Wicker Man (1973)

Willy Wonka and the Chocolate Factory (1971)

Yellow Submarine (1968)

You, the Living [Du Levande] (2007)

Zardoz (1974)

GO WEST (1925) AND ONE WEEK (1920)

 further explored his fascination with the west in his feature Go West (1925). Keaton had previously parodied the westerns of  in Frozen North (1922) and Go West is a further development of that exploration. Go West, however, is more influenced by  than by Hart; it has qualities which have to come to be termed as “Chaplinesque”, albeit filtered through “Keatonesque” sensibilities. It is said to have been Keaton’s personal favorite among his features, enough that he took solo directorial credit, which was rare for him.

Go West is the romantic (and odd) story of a cowhand drifter and his cow, with a girl in the very distant background. Keaton plays a lonely fish-out-of-water named Friendless (cue symbolism). The unemployed Friendless finally gets a job at a cattle ranch, but he is ill-equipped for the duties of a cowboy. Out of his element in this blue-collar, macho labor, Friendless is an object of ridicule to his peers. He never can bond with the other ranchers and gets so behind in his work that he always misses the company meal. Some gags are in order now, including Friendless’ clever technique for overcoming his discomfort with a six-shooter. Paralleling Friendless is an equally anti-social cow named Brown Eyes, who also does not bond with her peers. Rather, Brown Eyes gets attached to Friendless and becomes a shadow to the misfit herder, whom she loves.

Naturally, our misfit among misfits will have to overt the slaughter of Brown Eyes. Kathleen Myers, the ranch owners’ daughter, develops a soft spot for the bohemian pair and pleads with Papa to show mercy, which is about all the lackluster Myers gets to do. (With few exceptions, Keaton’s leading ladies are pretty much wallpaper and Myers’ character is true to that rule. Keaton never developed or nurtured a consistent female foil of the type or played for Chaplin).

Still from Go West (1925)Although Keaton pulls audience heartstrings here, he never milks it with obviousness, but rather imbues it with inherent strangeness. Keaton, per the norm, builds the film to an epic climax which involves a stampede in town. Havoc ensues, although it is pretty much an extended single joke of cattle wandering into places and circumstances in which they do not belong.

The most inventive gag is Friendless donning a devil’s outfit and literally becoming a waving red flag to round-up the wayward herd. Keaton pulls out all the stops and the finale is grandly executed—although much to Keaton’s dismay, the cattle was not as cooperative as he had hoped for, and compromises had to be made in the shooting script. Naturally, the eccentric duo will save the day and Friendless will choose his longhorn over the real live girl as a reward.

One Week (1920) is co-directed by  and was Keaton’s first real solo short after a lucrative three-year apprenticeship with Roscoe “Fatty” Arbuckle. Keaton clearly had learned his trade and developed a vision; One Week is a masterpiece, co-starring, for the first time, Sybil Seely, who was the closest Keaton would come to a regular leading lady.

Keaton establishes a decidedly more progressive and idiosyncratic stylization here: inventive and intelligent slapstick through elaborate set demolition and madcap, highly choreographed stunt work.

Uncle Mike gifts newlyweds Keaton and Seely a house and a lot. Seely’s old suitor, Handy Hank, is incensed. Much to the newlyweds’ dismay, they discover their house comes in a box, which they have to assemble. There are directions, which simply instruct to “follow the numbers.” A vengeful Hank jumbles the numbers. Carpentry is simply not Keaton’s trade, ND the result is a surreal house which makes the Leaning Tower of Pisa look stable.

The house on sand will come a tumbling down, a gag Keaton will perfect in Steamboat Bill Jr. (1928). Perhaps the most surprising element here is Selly’s bath scene in which she drops her soap and the cameraman spares her modesty by covering the lens with his hand. Seely is understandably grateful. It’s easy to see why Keaton preferred Seely. He may not have given her  a lot to do on-screen, but her sexy and sweet personality shows through in every frame she occupies. One Week rounds up with an extended storm sequence.

Next Week: Seven Chances (1925).

Leave a Reply

  

  

  

You can use these HTML tags

<a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

Indie Flix special offer

indieflix offer