Great slapstick comedy and thrilling stunts

Seven Chances is a lovely reminder of just how larger than life the silent film era’s productions could be, and while this particular example of star Buster Keaton is not without it’s limitations as direct from the technology at the time, the film still holds up well eighty years on. As a comedy, it is slapstick in nature, and more funny than not, delivering many great visual gags as well as a few instances of wit either derived from the sporadic text, or from Keaton’s actions himself. Furthermore, the romantic subplot which plays a large role in the overall arc of the feature is just as effective, if not more-so working to give the film a timeless appeal through it’s heart-felt but not overly serious explorations of love. First and foremost however, Seven Chances is simple, light-hearted comedic fun meant to distract and entertain, and that’s exactly what it does for the most part. To be sure, the pace can get a little too erratic for its own good at times, and often the wackiness of this generation of cinema can be a little hard to adjust to, but if you can overlook these minor bumps then there is indeed much fun to be had from sitting back and enjoying something a little different from modern cinema.

The story which keeps things relatively simple in a neat premise is one that serves the nature of the film well enough to deliver both the subtle romance and the overt slapstick. Keaton here plays ‘Jimmie’, a stock broker in legal trouble with his partner, who on his birthday learns that he has inherited money from a dead relative, which in turn would solve all his problems. The catch however is that Jimmie has to be married by 7PM that day, or else the fortune would not be passed over to him. What follows on from this rather ridiculous exposition is a fast-paced and well constructed tale that is just as ridiculous, if not even more. It’s a staple of the time in that comedy was comedy, and drama was drama, and while there is still plenty of grounding rules present in The Seven Chances, it’s one of those films that doesn’t feel realistic, but draws much of its laughs from this very feature. Characters are flat and largely uninteresting as people, but as placeholders for ideas of both themes of romance and comedy, they work very well and fulfil their roles as intended.

As was the case with many films of the time, the silent film was one that relied heavily on its visuals to do the storytelling, the action and everything in between. Seven Chances is no exception here, as, with very little in the way of text to support the plot, much is put on Keaton and crew’s shoulders to deliver the punches when required. As a pure visual treat, the film is vintage ice cream. Presented in unassuming sepia, and with action usually much too fast than reality would warrant, the film posses a distinct charm which, in combination with its superb direction is always entertaining to watch. The action, which takes place upon many different sets and locations, is frantic and manic, showcasing choreography that thrills even more than modern blockbuster epics do nowadays.

To be fair, all the running around (particularly the final fifteen minute chase) can be a bit of a mixed bag, delivering some great excitement, but also some other much more unsuccessful scenes which are more superfluous than necessary. With the help of Keaton though, much of these moments remain a joy to watch regardless of how long they seem to drag on for, and for the sheer spectacle of the thing, which when taking into account the fact that Keaton did all his own stunts, and coming from a time when CGI was science-fiction, is pure cinematic magic. Buster himself is top-notch throughout, filling the lead role as performer and director superbly, bringing with him his unique charm, charisma and stage presence that helps meld the whole production together into an ambitious, but simple-on-page piece of entertainment; good fun, some great laughs and a touching dash of romance on top.

The Baloonatic is a lightly amusing twenty minute short film that draws much of its comedy from loosely connected scenes which are slapstick, and mostly routine for Mr. Keaton. The story here revolves around a man, who as a result of his ever growing bad luck ends in the middle of an unfamiliar forest after a miscalculated ride on a stray hot-air balloon. It’s a simple, short and relatively empty feature, outside of its comedic appeal, and so although Buster does well to bring the most out of his script, moments where the jokes fall flat can get a little tiresome. Again, a romantic subplot is consistently played underneath all the slapstick, and while it lacks any real solid involvement, nevertheless brings the entire feature together in a neat, cute and poignant manner; both funny and sweet. Regardless, if silent, short comedy films are your thing, then Keaton will be sure to please in some way or another throughout the twenty minutes, given that you care little for any other substance. By no means is this a classic, nor is it something you should go out of your way to see, but for historians and Buster Keaton fans alike, it’s a small and welcome treat.

Being one of Keaton’s earliest and most recognised short film, Neighbours is full of passion, fast-paced, frantic and at times even romantically touching. It’s innocent, light-hearted and airy, and just about sums up Buster’s earliest work, going from slapstick nonsense to refreshing (for the time) character-driven gags that deliver just as well. Sure enough the feature is not without its drawbacks which do hinder the overall pacing and breezy feeling present in the short’s best moments. Much like The Balloonatic, the greatest parts here lie in acts one and three, with the middle section giving way to fine moments of zany antics, but with plenty of superfluous additions to boot.

The plot here follows a young man and woman madly in love as they attempt to bring themselves together against their begrudging families. What follows is a piece of hilarious and wild twenty minute entertainment full of laughs and great images. Keaton himself is truly captivating as always, and delivers some of his most inspired and tricky stunts here which do well to thrill and bring up a laugh or two out of the sheer spectacle of what is going on. Throw in a beautiful supporting actress, and a whole host of very vivid personalities backing Buster, plus troublesome trousers, quarrelling families and you have a film that is sure to stick with you, despite its obvious inconsistencies and less successful moments.