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The Frozen North (1922)

 -  Short | Comedy  -  28 August 1922 (USA)
6.6
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Ratings: 6.6/10 from 1,010 users  
Reviews: 14 user | 7 critic

Buster plays a bumbling villain in this parody of melodrama.

Directors:

(as Eddie Cline) ,
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Title: The Frozen North (1922)

The Frozen North (1922) on IMDb 6.6/10

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Cast

Complete credited cast:
...
The Bad Man
Joe Roberts ...
The Driver
Sybil Seely ...
The Wife
Bonnie Hill ...
The Pretty Neighbor
Freeman Wood ...
The Neighbor's Husband
Edward F. Cline ...
The Janitor
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Storyline

This satirical parody of William S. Hart's melodramatic films finds Buster in the frozen north, "last stop on the subway." He uses a wanted poster as his partner in robbing a gambling house. When he thinks he spies his wife making love to another man he shoots them both only to learn it isn't his cabin after all. Written by Ed Stephan <stephan@cc.wwu.edu>

Plot Summary | Add Synopsis

Genres:

Short | Comedy

Certificate:

Unrated | See all certifications »
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Details

Country:

Language:

Release Date:

28 August 1922 (USA)  »

Also Known As:

The Frozen North  »

Filming Locations:


Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Keaton actually satirizes two of his famous contemporaries in this short: William S. Hart, of course, but also 'Erich Von Stroheim'. Near the end of the film, his female "victim" briefly visualizes Keaton dressed in the kind of elaborate, middle-European dress uniform (complete with monocle) favored by Von Stroheim during his "man-you-love-to-hate" phase. See more »

Goofs

Knife is pulled twice on The Bad Man in the fight at the end of the film. See more »

Connections

Spoofs Foolish Wives (1922) See more »

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User Reviews

the only mean-spirited movie Keaton ever made
30 October 1998 | by (Aptos, CA) – See all my reviews

I read recently that this was supposed to be a satire of someone else's movies (I can't remember the actor's name that Keaton is satirizing), but even knowing that, it's a shocker. The one thing you can always count on in Keaton's movies is an underlying sweet-naturedness (unlike Chaplin, who expresses a lot of anger in his comedies). I wish he hadn't made it, because by now, the movies he's referring to are forgotten, and we don't get the point. All his other movies are about universal human experiences, and will always be understood by any audience, anywhere.


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