Tag Archives: Buster Keaton

Oliver Hardy at the Chaplin-Keaton-Lloyd Alley

The block of Cahuenga south of Hollywood Boulevard was the most popular spot in town to film silent movies. As I’ve written in numerous tours and posts, everyone filmed there, from Douglas Fairbanks and Mary Pickford, to Charlie Chaplin, Buster … Continue reading

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Buster Keaton and W.C. Fields in Astoria

Buster Keaton and W.C. Fields filmed alongside the same Astoria apartment building, nine years apart. Who knew? While working on a post connecting Fields’ It’s The Old Army Game with Keaton’s The Cameraman (1928) and Harold Lloyd’s Speedy (1928) (all … Continue reading

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Buster Keaton’s Kennel on the MGM lot

As one of MGM’s biggest stars, Buster Keaton once had a private bungalow dressing room on the studio lot, jokingly dubbed “Keaton’s Kennel.” A reader correctly wrote long ago that the Kennel stood along the north side of the lot, … Continue reading

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Buster Keaton’s Blue Blazes in Astoria

While working on posts covering W.C. Fields filming It’s The Old Army Game (1926) and Running Wild (1927) at the Paramount Astoria Studios on 35th Avenue and 35th Street, I remembered Keaton had made a few short comedies for Educational … Continue reading

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It’s The Old Army Game – W.C. Fields in New York with Buster Keaton and Harold Lloyd

The wonderful new Kino Lorber Blu-ray release of W. C Fields and Louise Brooks in It’s The Old Army Game (1926) is a must-have for any Fields, Brooks, or silent comedy fan. As I’ve reported at length in several prior … Continue reading

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Keaton’s Battling Butler – A Knockout Finish to the SF Silent Film Festival

The 2018 San Francisco Silent Film Festival closes Sunday, June 3 with a screening of Buster Keaton’s self-directed comedy Battling Butler (1926), hosted by Leonard Maltin, and honoring recently deceased festival Board member, beloved television writer and director Frank Buxton, … Continue reading

Posted in Buster Keaton, Film Noir, The Turning Point, Three Stooges | Tagged , , , , , , , , , , , , , , , | 11 Comments

Keaton’s Seven Chances – On The Clock

Late for church, during Seven Chances (1925) Buster Keaton must marry by 7:00 p.m. that evening in order to inherit a fortune. But what time is it? Having just lost his pocket watch down a sewer drain, Buster stops in … Continue reading

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The Surviving Sherlock Jr. Bungalow

A bungalow that appears in Buster Keaton’s Sherlock Jr. (1924), and in his early short film Convict 13 (1920), is still standing today at 4908 McKinley Avenue, when it was moved 11 miles away from Buster’s studio in 1926, the … Continue reading

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The Surviving Keaton Studio Neighbors

Buster Keaton unwittingly documented the urbanization of the once agricultural Colegrove region of Hollywood in the background of his films. As reported in my book Silent Echoes, the quaint Cahuenga Valley Lemon Growers Exchange warehouse once stood across the street … Continue reading

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The Surviving Chaplin “The Circus” Tree

Paul Ayers, attorney, SoCal historian, and Altadena hiking trail expert and restorer, has shared many remarkable location discoveries over the years, including the finale from Charlie Chaplin’s The Circus (1928). Stemming from Paul’s discoveries, we now know a tree that … Continue reading

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The Red Kimono – A Vast Record of Early Los Angeles

The Red Kimono (1925), a searing drama notably produced and written by women, captures a remarkably comprehensive visual record of early Los Angeles. From Broadway and posh gated communities to Chinatown and the amusement park piers, these settings, along with … Continue reading

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Another Lois Weber First – Using Locations

In her day, pioneering producer/director/screenwriter Lois Weber ranked alongside D.W. Griffith and Cecile B. DeMille as one of the most successful and influential filmmakers of any gender. As historian Cari Beauchamp writes, though little known today, Weber was the first … Continue reading

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Keaton’s “What No Beer?” Barrel Avalanche

As Jim Kline writes in The Complete Films of Buster Keaton, MGM studio head Louis B. Mayer had already drafted Keaton’s termination letter by the time filming of What No Beer? completed in January 1933. For better or worse, this … Continue reading

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Arbuckle – Keaton at the Bronx Biograph Studio

Noted biographer James Curtis contacted me with an intriguing observation. Did a scene from the 1917 Arbuckle-Keaton short Oh Doctor! (above) reveal the large glass rooftop shooting stage of the former Biograph Studio, located at 807 E 175th St in … Continue reading

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Buster’s Manhattan Apartment – The Cameraman Part III

In a prior post, Bob Egan flexed his Manhattan research skills to locate Marceline Day’s now lost apartment in Buster Keaton’s The Cameraman, 20 West 58th Street. Now Bob has located Buster’s midtown apartment as well, 201 East 52nd Street. … Continue reading

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Arbuckle – Keaton – the Good Night Nurse Hot Springs

Roscoe Arbuckle, Al St. John, and Buster Keaton must have had special fun making their Comique film Good Night Nurse (1918), leaving their Long Beach studio behind to film certain scenes at the Arrowhead Hot Springs resort 75 miles to … Continue reading

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Buster Keaton’s Haunted House

My friend architectural writer Steve Vaught made this amazing discovery – the “haunted” mansion appearing in Buster Keaton’s 1921 short film The Haunted House was the former Bonebrake Mansion, once standing on the corner of Adams and Figueroa. Steve noticed … Continue reading

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Keaton’s The Goat – the geography of a gag

Particular yet pragmatic, Buster Keaton would travel hundreds of miles to find just the right setting for a joke, while also filming dozens of mundane locations within steps of his small studio in Hollywood. This post breaks down the geography … Continue reading

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Buster with a Bullitt – Keaton and Steve McQueen’s SF Stunts

Recent posts show Buster Keaton crossed paths with Orson Welles in Venice, California (The High Sign and Touch of Evil), and with Alfred Hitchcock in San Francisco (Day Dreams and Vertigo). This time Keaton and ‘King of Cool’ actor Steve … Continue reading

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Keaton and Orson Welles – A High Sign Touch of Evil

Prior posts discuss Orson Welles and Chaplin (Citizen Kane – Modern Times), and Keaton and Alfred Hitchcock (Day Dreams and Vertigo), so how about Keaton and Orson Welles? Their paths crossed too, filming in Venice, California. As I explain in … Continue reading

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