BATTLING BUTLER (1926)

One of Buster Keaton’s biggest hits on release, this mistaken-identity boxing farce stood somewhat in the shade of his other features during the big Keaton revival of the ‘60s & ‘70s. And while it is more conventional then the great masterpieces (it’s just possible to imagine another silent comedian in it), that’s hardly reason not to dig in and enjoy. It’s one of his Incompetent Weakling-to-Inspired Hero stories (like THE NAVIGATOR or STEAMBOAT BILL, JR.), here a noodle of a man, ordered by wealthy Dad to toughen up with a camping trip in rough country. A task arranged for Buster by efficient valet Snitz Edwards who manages to pack every comfort under the sun in their caravan. Life is easy. And once Buster stumbles upon charming local Sally O’Neill, it’s also an instant love match. Too bad her brutish father & brother don’t approve. Once more, Snitz saves the day, noticing in the paper that the current lightweight boxing champion happens to share Buster’s name. Why not play the part to impress those putative in-laws? But when the real boxer shows up, circumstances twist Buster into either losing his girl or taking on a real fight against a real contender, The Alabama Murderer!! With most of the action concentrated in the second half, the earlier parts work on character gags and sheer charm. Something Buster, who takes solo directing credit, has zero problem pulling off. In fact, the only problem he has is hiding what terrific physical shape he’s in for the comic boxing routines. Working with regular cinematographer Bert Haines (who seems to have no non-Keaton credits), Buster shows sheer compositional mastery even beyond his usual standard. (Is there a bad camera placement in any of his features?) Some ringside action, especially a melancholy shot of Buster & Snitz in an empty stadium, have an almost tactile beauty. And what in most films would be a throwaway set piece of Buster training out in the countryside, becomes a jaw-droppingly lovely pastorale. Including a blink-and-you’ll-miss-it shot right after a car crash, as Buster’s trainer jogs up a long dusty road while far in the background a tree stands in silhouette. About as gorgeous a shot as exists on film. Nearly equaled right at the climax in an inexplicably haunting shot of Buster, in a surprise boxing victory after the official fight, devastated at the thought that he’s won the battle, but lost Sally. Wearing nothing but boxing trunks and bearing his weight by leaning his head against the wall, he’s framed on the right by his own top hat and cane, tokens of the identity he believes will doom the relationship. Simple, moving, basic, loaded with emotional content, it’s awe-inspiring filmmaking.

DOUBLE-BILL: Easy to see how this influenced the boxing scenes in Harold Lloyd’s THE MILKY WAY/’36, one of his better sound films, made under the sharp, comic eye of Leo McCarey.