“There are only two cures for love: marriage and suicide.”
A dry cleaner (Buster Keaton) obsessively in love with a stage actress (Dorothy Sebastian) is distressed to learn she’s married him simply to spite her co-star (Edward Earle), who she’s still infatuated with.
I’ll begin my review of Buster Keaton’s final silent film by noting that not a single one of his feature-length silent movies (all of which are either listed or reviewed in Peary’s book, btw) has been a disappointment — even his supposedly “lesser” titles, like this one. While it may not be quite on the same level as his most widely acknowledged classics, it’s consistently amusing, and full of exactly the kind of boldly humorous (and often audaciously physical) sight gags one comes to expect from Keaton. Here, he plays a variation on all the seemingly-milquetoast characters he embodied in previous features — a man pining for a beautiful woman who at first is out of his reach, but eventually (yes, there’s always a happy ending) comes to realize what a loyal and brave catch he is. The most memorable scenes in this particular flick are probably Keaton’s bungled attempt to stand-in for a missing actor in Sebastian’s play, and his attempt to get his soused new wife-in-name-only into bed — but plenty of others are chuckle-worthy as well. Keaton fans won’t be disappointed in the slightest.
Redeeming Qualities and Moments:
No, though it’s recommended, and (naturally) a must for Keaton completists.