Steamboat Bill, Jr.
– US, 1928
There’s a scene early on in Steamboat Bill, Jr. that would play very differently if it were
filmed today. In it, a young man named William Canfield Jr., played by Buster
Keaton, tries to make a baby stop crying by prancing around in what may be
considered a stereotypically “feminine” way. Unbeknownst to him, his father, an
overly macho captain of a riverboat called Stonewall Jackson, is watching his actions
and reacting in horror. He then tells his friend not to say what they are
likely both thinking. It is a remark that an audience in 1928 would have
understood immediately and found quite funny. Filmed in color, the scene, like
reruns of Three’s Company, which no
longer gets the laughs they used to, would run up against present-day
sensitivities.
Here, though, the gag works, and it sets up a series of
other equally effective gags, each involving the father trying to show the son
how a real man looks and behaves. These bits involve changing the younger Canfield’s
wardrobe, getting rid of his short, European-looking mustache, and smashing his
precious ukulele, which apparently is not manly enough for a riverboat worker.
Each bit is extremely funny, and Keaton’s reactions and facial expressions
while trying on hat after hat are priceless. And what happens to the hat is
pure genius.
The film’s plot revolves around a dispute between Canfield’s
father, William “Steamboat Bill” Canfield (Ernest Torrence) and his rival J.J.
King (Tom McGuire). In the beginning of the film, we see King’s impressive new
steamship, which has been arrogantly named King. King is one of those early
American businessmen with monopolistic goals. He wants to control
transportation, banking, and the hospitality industry, and the town’s residents
couldn’t be more thrilled. King could easily have been portrayed as a maniacal
fellow trying to squash his competitors, but the film wisely avoids this.
Instead, he, as well as the elder Canfield, bears a slight resemblance to the
elder Capulets and Montagues from Shakespeare’s Romeo and Juliet. A wealthy man who just happens to have a
long-standing hatred for Bill Canfield, Sr, King also has a daughter named
Kitty (Marion Bryon), and it soon becomes clear that she and Canfield Jr. not
only know each other but are also deeply in love. Of course, it goes without
saying that their fathers are opposed to them being together.
The film is well-directed by Charles F. Reisner, who was
himself a former vaudeville performer. He seems to have a real understanding of
comedy and comic timing, and he knows just where to put the camera to get the
best view of Keaton’s classic facial expressions. Marion Bryon, here making
here screen debut, is also very impressive in the film. She plays up Kitty’s
sweetness, as well as her playfulness, and some of her best moments capture her
joy at seeing Keaton’s exploits, many of which come at her father’s expense. As
for Ernest Torrence, he shows both comic and dramatic skills, and it is easy to
see why he was a success in both genres.
The film contains plenty of classic Buster Keaton gags, from
an early bit involving a white carnation to a later one involving a loaf of
bread made from something other than flour. Also, watch out for a hilarious
pantomime during a famous steamboat song and a particularly brilliant bit
involving Keaton’s attempts to sneak aboard King’s ship. As joyous as these
bits are, however, they pale in comparison to what happens toward the end of
the film during a long stretch involving a cyclone and its effects on the town.
In these moments, we see Keaton battling the elements, collapsing buildings,
and curiously placed stage props. It simply has to be seen to be believed.
Steamboat Bill, Jr. is
similar to other Keaton films in that it first builds Keaton’s character up to
be a bit of a buffoon only to later show him possessing amazing skills when it
truly counts. In 1927’s College, it
was athletics that he suddenly developed skills in; here, it’s sailing. In both
films, the message seems to be that we should never discount the amazing powers
of love, for they can enable us to do some pretty impressive things. The
sentiment may seem a bit cliché in the real world, but it has always worked on
the silver screen, and it works magnificently here. Steamboat Bill, Jr. remains hilarious and heartfelt. It is truly a
classic of cinematic comedy. (on DVD and Blu-ray)
4 and a half stars
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