Richard Hittleman

Joseph Frank "Buster" Keaton (1895–1966) was an American actor, comedian, and filmmaker, most renowned for his silent films of the 1920s. His career began in vaudeville as a child performer in his family's act, "The Three Keatons," where he developed a unique style of physical comedy and learned to perform dangerous stunts safely, earning him the moniker "The Little Boy Who Can't Be Damaged." He eventually adopted a stoic, deadpan facial expression, which became his signature and led to the nickname "The Great Stone Face."

Transitioning to film, Keaton first gained prominence with independent producer Joseph M. Schenck, making short comedies before moving to feature films. His work during the 1920s, including titles like "Sherlock Jr.," "The General," and "Steamboat Bill, Jr.," is highly regarded for its inventive gags, daring stunts, and artistic control. "The General" is often cited as his masterpiece. Keaton's creative freedom diminished after signing with MGM in 1928, leading to a career downturn, personal struggles with alcoholism, and a loss of artistic independence. He later experienced a career resurgence in the 1940s, making cameo appearances and working in television until his death, receiving an honorary Academy Award in 1959.

Born Joseph Frank Keaton in 1895, he entered vaudeville at the age of three as part of his family's traveling act, "The Three Keatons." This act involved a rough-and-tumble physical comedy style where young Buster was thrown around the stage. He developed remarkable skills in executing dangerous falls safely, leading to the billing "The Little Boy Who Can't Be Damaged." The constant physical demands and potential for injury were managed through precise execution, a skill Keaton attributed to starting at such a young age. He learned to control his reactions during performances, adopting a deadpan expression to enhance the comedic effect and elicit audience laughter. Despite legal challenges regarding child labor laws, Keaton was a successful performer, though his formal education was limited.

Keaton's film career began in 1917 after meeting Roscoe "Fatty" Arbuckle. He quickly demonstrated a natural talent for the medium, even dismantling and reassembling a camera to understand its mechanics. He worked extensively with Arbuckle before establishing his own production unit, Buster Keaton Productions. During the 1920s, he created a series of acclaimed short and feature-length silent films. His work was characterized by ingenious gags, many conceived by Keaton himself, and breathtaking physical stunts performed at significant personal risk, such as the famous building facade stunt in "Steamboat Bill, Jr." or the broken neck incident during "Sherlock Jr." His films, including "The General" and "Our Hospitality," are celebrated for their visual storytelling, innovative techniques, and a unique blend of comedy and dramatic elements.

Keaton's artistic independence was curtailed when he signed with Metro-Goldwyn-Mayer in 1928, a move that marked a decline in his career and led to personal difficulties, including alcoholism. He was eventually fired from MGM in 1933, ending his tenure as a leading man in feature films. However, he experienced a period of recovery in the 1940s, marrying Eleanor Norris and continuing to perform as a comic artist. He also appeared in notable films like Billy Wilder's "Sunset Boulevard" and Charlie Chaplin's "Limelight," as well as various television programs. In recognition of his lasting impact, Keaton received an Honorary Academy Award in 1959. Critics and film historians continue to laud his extraordinary contributions to cinema, particularly his genius as an actor-director during his peak silent film period.

“Gee whiz, he's a regular buster!”

“The Little Boy Who Can't Be Damaged”

“The Roughest Act That Was Ever in the History of the Stage”

“The secret is in landing limp and breaking the fall with a foot or a hand. It's a knack. I started so young that landing right is second nature with me. Several times I'd have been killed if I hadn't been able to land like a cat. Imitators of our act don't last long, because they can't stand the treatment.”

“The greatest comedy ever made...and perhaps the greatest film ever made”