One year before his death in 1966, Buster Keaton, although far from the great popularity he enjoyed for the better part of the 1920's, squandered with the advent of sound under the autocratic rule of a studio that had no clue whatsoever how to use a man as talented as Buster, who had proved with THE CAMERAMAN (his first film for MGM after Jo Shenck sold his contract) to be absolutely unbeatable when left to his own devices and his own team of gagmen, the genius of silent cinema came on stage one last time for a final bow. THE RAILRODDER and the other short film he did the same year for Alan Schneider and Samuel Beckett, FILM, the first a joyous celebration of a legend, the other a sad, thoughtful examination of a man and myth; taken together, they form a great tribute to a great figure of cinema.
Although the style, the train setting, and a lot of the gags are a throwback, intentional homage, to some of Buster Keaton's most famous moments (THE GENERAL first among them), unlike the short films that made him a star in the 20's, this time Buster shares the stage. Vying for attention and getting it are both the Canadian countryside, open prairies and mountains, and the beautiful photography. To be appreciated for its cinematic merits as well as Keaton's presence, The Railrodder is a purely enjoyable, not particularly funny, but pleasant, warm, sympatico short film. And even in his old age, Buster has lost none of his stonefaced charm, that boyish naivety and oblivion to danger.
Although the style, the train setting, and a lot of the gags are a throwback, intentional homage, to some of Buster Keaton's most famous moments (THE GENERAL first among them), unlike the short films that made him a star in the 20's, this time Buster shares the stage. Vying for attention and getting it are both the Canadian countryside, open prairies and mountains, and the beautiful photography. To be appreciated for its cinematic merits as well as Keaton's presence, The Railrodder is a purely enjoyable, not particularly funny, but pleasant, warm, sympatico short film. And even in his old age, Buster has lost none of his stonefaced charm, that boyish naivety and oblivion to danger.