Because of the hostility of MGM head L. B. Mayer, who had little use for comedians, and personal and alcohol problems, Buster Keaton's star career was in eclipse by 1938. He somehow got assigned to direct this film, which is a mixed bag - but distinctly a lesser effort of the Great Stone Face. He does not appear in this one, which all in all is just as well.
Racially this film is offensive, even though there is an element in the story that suggests that better things were possible for African Americans if Caucasian Americans would assist them. Even that though does not really help: the African-Americans act like stereotypes, who mangle English, and have subservient jobs. They are the staff of a private railway car, and we see them entertaining the owner and two other men by doing the first of three skat numbers, where they sing and also pretend to be the instruments of the band. This is entertaining, but the effect in the second number is hurt by the members of the band playing instruments that include faking trumpets with toilet plungers.
The band is rewarded by the owner of the private car - he is billionaire - and he is going (he says) to live on his private yacht for the rest of his life and does not need the car. So as a gift it is given to them - but as he does not own the railroad and it's tracks they have to remove it from the tracks and take it elsewhere. He leaves the band astounded at their good fortune - but they don't see him taken under the care of a German Psychiatrist. This billionaire is as crazy as a loon (and so he can't make gifts of his property).
The members of the band somehow manage to get the diner (they call it a "Dinah") down Wiltshire Blvd. in L. A. and set it on some land - where they proceed to rebuild it as a diner. And here was the one positive point of the entire wasted short - they were quite industrious, and were intent on making their new business a success. It was a moment in the films of that era that one struggled to find usually - rare to see African-Americans striving to succeed in our capitalist system. But the moment is quickly shattered, when their hard work is threatened by two detectives (the men who accompanied the mad billionaire earlier) threaten to arrest them on their opening night. They tell the men that the billionaire was suffering from hallucinations. When the President of the Railroad shows up as a satisfied customer who will give them the car as a gift, they politely reject his offer. They don't trust gifts from billionaires anymore.
It's a lame conclusion and a let-down on the one positive point of the film that I appreciated. Keaton's directing is adequate, but nothing more. It will never be one of his memorable classics, or even his good films - it is rather forgettable quickly. It illustrates how his career was wasted for so many years for stupid reasons.
Racially this film is offensive, even though there is an element in the story that suggests that better things were possible for African Americans if Caucasian Americans would assist them. Even that though does not really help: the African-Americans act like stereotypes, who mangle English, and have subservient jobs. They are the staff of a private railway car, and we see them entertaining the owner and two other men by doing the first of three skat numbers, where they sing and also pretend to be the instruments of the band. This is entertaining, but the effect in the second number is hurt by the members of the band playing instruments that include faking trumpets with toilet plungers.
The band is rewarded by the owner of the private car - he is billionaire - and he is going (he says) to live on his private yacht for the rest of his life and does not need the car. So as a gift it is given to them - but as he does not own the railroad and it's tracks they have to remove it from the tracks and take it elsewhere. He leaves the band astounded at their good fortune - but they don't see him taken under the care of a German Psychiatrist. This billionaire is as crazy as a loon (and so he can't make gifts of his property).
The members of the band somehow manage to get the diner (they call it a "Dinah") down Wiltshire Blvd. in L. A. and set it on some land - where they proceed to rebuild it as a diner. And here was the one positive point of the entire wasted short - they were quite industrious, and were intent on making their new business a success. It was a moment in the films of that era that one struggled to find usually - rare to see African-Americans striving to succeed in our capitalist system. But the moment is quickly shattered, when their hard work is threatened by two detectives (the men who accompanied the mad billionaire earlier) threaten to arrest them on their opening night. They tell the men that the billionaire was suffering from hallucinations. When the President of the Railroad shows up as a satisfied customer who will give them the car as a gift, they politely reject his offer. They don't trust gifts from billionaires anymore.
It's a lame conclusion and a let-down on the one positive point of the film that I appreciated. Keaton's directing is adequate, but nothing more. It will never be one of his memorable classics, or even his good films - it is rather forgettable quickly. It illustrates how his career was wasted for so many years for stupid reasons.