"This fellow Keaton seems to be the whole show."
"The Playhouse" is one of Buster Keaton's best and one of the most ingenious films from around this time that I've seen. It might never have been, either, if Keaton hadn't broken his ankle, thus temporarily prohibiting him from some of the daredevil stunts he'd become famous for. Instead, "The Playhouse" relies upon technical innovation and intelligent concepts; as a result, it's one of Keaton's most cinematic films, alongside "Sherlock, Jr."
The first six and a half minutes are especially brilliant, featuring an opera house where all the performers, staff and audience members are Buster Keaton. It unfolds wonderfully, beginning with a sole Keaton purchasing a ticket, then opening upon Keaton as the conductor of a six-Keaton orchestra, a la trick-shot pioneer Georges Méliès's "L' Homme orchestre" (The One-Man Band) (1900). That's followed by a nine-Keaton minstrel show, two Keaton's dancing in harmony and the above retort made by a suspicious Keaton audience member to top it off. In addition to what seems an intentional allusion to Méliès, others consider the program gag a rib at influential producer Thomas H. Ince, who, indeed, credited himself repeatedly in the opening credits of his movies. There's a resemblance, especially in the interaction of the audience members, to Charlie Chaplin's "A Night in the Show" (1915), too.
Keaton reveals the opening sequence to have been a dream, something he did with some of his other films, as well. What I think is especially interesting about the remainder of "The Playhouse", as well as the first sequence, is its self-reference. Even though the film is set in theatre, the cinematic self-reference isn't lost, and much of "The Playhouse" alludes to the deceptive nature of movie-making, from the multiple exposure effects to realize multiple Keaton's to the illusion that a set is Keaton's bedroom. Furthermore, the twins and the use of mirrors reference the first part of the film.
The latter part of the film greatly resembles "Back Stage" (1919), which Keaton made with Roscoe "Fatty" Arbcukle. Perhaps even the same sets were used for both films; otherwise, they were duplicated. As in "Back Stage", an acting troupe quits, forcing Keaton and some other amateurs to take their place for the night's show. There's the typical backstage mayhem, with Joe Roberts chasing Keaton around. The aping bit from "Moonshine" (1918) and the cup of water gag from "The Rough House" (1917) are also both revitalized here. Every scene in this ingenious, witty picture takes on greater significance and humor in referencing itself, other films and cinema in general.
"The Playhouse" is one of Buster Keaton's best and one of the most ingenious films from around this time that I've seen. It might never have been, either, if Keaton hadn't broken his ankle, thus temporarily prohibiting him from some of the daredevil stunts he'd become famous for. Instead, "The Playhouse" relies upon technical innovation and intelligent concepts; as a result, it's one of Keaton's most cinematic films, alongside "Sherlock, Jr."
The first six and a half minutes are especially brilliant, featuring an opera house where all the performers, staff and audience members are Buster Keaton. It unfolds wonderfully, beginning with a sole Keaton purchasing a ticket, then opening upon Keaton as the conductor of a six-Keaton orchestra, a la trick-shot pioneer Georges Méliès's "L' Homme orchestre" (The One-Man Band) (1900). That's followed by a nine-Keaton minstrel show, two Keaton's dancing in harmony and the above retort made by a suspicious Keaton audience member to top it off. In addition to what seems an intentional allusion to Méliès, others consider the program gag a rib at influential producer Thomas H. Ince, who, indeed, credited himself repeatedly in the opening credits of his movies. There's a resemblance, especially in the interaction of the audience members, to Charlie Chaplin's "A Night in the Show" (1915), too.
Keaton reveals the opening sequence to have been a dream, something he did with some of his other films, as well. What I think is especially interesting about the remainder of "The Playhouse", as well as the first sequence, is its self-reference. Even though the film is set in theatre, the cinematic self-reference isn't lost, and much of "The Playhouse" alludes to the deceptive nature of movie-making, from the multiple exposure effects to realize multiple Keaton's to the illusion that a set is Keaton's bedroom. Furthermore, the twins and the use of mirrors reference the first part of the film.
The latter part of the film greatly resembles "Back Stage" (1919), which Keaton made with Roscoe "Fatty" Arbcukle. Perhaps even the same sets were used for both films; otherwise, they were duplicated. As in "Back Stage", an acting troupe quits, forcing Keaton and some other amateurs to take their place for the night's show. There's the typical backstage mayhem, with Joe Roberts chasing Keaton around. The aping bit from "Moonshine" (1918) and the cup of water gag from "The Rough House" (1917) are also both revitalized here. Every scene in this ingenious, witty picture takes on greater significance and humor in referencing itself, other films and cinema in general.