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Day Dreams (1922)

 -  Short | Comedy  -  November 1922 (USA)
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Ratings: 6.9/10 from 1,295 users  
Reviews: 21 user | 6 critic

A sincere young man leaves his home to win his fortune so he can marry his home town sweetheart.


(as Eddie Cline) ,
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Title: Day Dreams (1922)

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Complete credited cast:
The Young Man
Renée Adorée ...
The Girl (as Renee Adoree)


Buster goes away to the city to prove to his girl's father he can succeed. He writes her of his various jobs which she glorifies in her imagination. She sees a surgeon, he is a vet's assistant; she sees him cleaning up on Wall Street, he's really a janitor. Written by Ed Stephan <>

Plot Summary | Add Synopsis


Short | Comedy


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Release Date:

November 1922 (USA)  »

Also Known As:

Day Dreams  »

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Technical Specs


Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?


Surviving prints of this film are incomplete. See more »


The Young Man: I've come to ask for your daughter's hand in marriage.
The Girls Father: How will you support her?
The Young Man: I don't know. I'll leave for the city to make good. If I'm not a success, I'll come back and shoot myself.
The Girls Father: Splendid. I'll lend you my revolver.
See more »


Featured in The Great Stone Face (1968) See more »

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User Reviews

Cops and Wheels
13 August 2005 | by ( – See all my reviews

Keaton plays a hapless lover of a girl whose father sees him for the loser that he is and refuses his daughter's hand in marriage unless Buster can make a success of himself in the city. Keaton heads off immediately and sends back to his girlfriend a number of ambiguously worded letters that enable her to imagine grand things for him when the reality of his exploits is something less glamorous. This comedy short is only partially successful; a couple of standout set-pieces are distanced by longer periods of sometimes uninspired routines. I suppose Keaton's legendary status has created unrealistic expectations amongst those who aren't too familiar with his work. Every scene of every film is expected to be a mini-masterpiece. Keaton was one of – if not the – best of the pantheon of silent comedy actors, but it's unfair to expect him to excel all the time. The two standout sequences are the cop chase, which begins with one cop walking behind Keaton and increasing his pace to match Keaton's as the comedian progresses from stroll to walk to brisk walk to trot to run to dash to sprint. The distance never varies between them during this sequence – it's a simple but breathtakingly effective shot that is wonderfully filmed. A couple of minutes later Keaton has what seems to be the entire LA police force on his heels. Losing them by hiding on the wheel of a steamboat, he finds himself trapped like a hamster in a wheel as the boat moves off and the wheel begins to rotate faster and faster. When viewed objectively the story's a rather bleak one, and is perhaps an appropriate reflection of the man who co-wrote and directed it with Eddie Cline, his regular collaborator at the time.

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