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18 out of 18 people found the following comment useful :-
A Comedy with a Heart of Gold, 21 April 2006

Author: imogensara_smith from New York City

Our Hospitality, Buster Keaton's second feature film, marks a great leap forward in his art. It's his first truly plot-driven film (his first feature, Three Ages, was deliberately made as three connected two-reelers, with only the loosest plot to hold the gags together.) It was also the first in which he banished any hint of cartoon-style slapstick and made gags take a back-seat to narrative. The slower pace and subtler comedy show Keaton's confidence that he didn't need to clown non-stop to retain the audience's interest. The grand scale and period authenticity look forward to his masterpiece, The General. Buster had always had a serious side, but this was the first time it dominated a film. Consequently, Our Hospitality is not his funniest work, but it has a unique sweetness and charm, rich with atmosphere and drama. The elegant historical setting and fresh outdoor scenery add to the handsome effect, and Buster's performance is particularly graceful and sensitive. Like the engineer he would portray in his best-known film, The General, his character here is a very polite, deceptively mild-mannered young man who can turn into a heroic athlete without even changing his clothes.

Our Hospitality was inspired by the Hatfield-McCoy feud, and the plot involves Buster, as a sheltered young man raised in New York, stumbling into a Southern blood feud when he returns to his ancestral home to claim an inheritance. The joke of the title is that once he enters the home of the rival family, they can't kill him without violating their code of hospitality—until he steps outside! The melodramatic prologue that opens the film comes as a surprise, but it effectively sets up the tension that runs through the story. It's not overplayed, and it includes a cute turn by Buster's infant son, playing the younger incarnation of his own character, Willie McKay. Grown to manhood in New York, Willie is a gentle, foppish type, introduced riding a ludicrous proto-bicycle (accurately based on historical prints of the Gentleman's Hobbyhorse, the first bicycle.) Informed that he has inherited his family's estate, he boards a train for the South.

Buster's main reason for setting the film in 1830 was so that he could indulge his passion for trains by creating a working model of Stephenson's "Rocket," the first locomotive. The train journey proceeds at a fluid, unhurried pace, blending a string of gags arising from obstacles encountered along the way (donkeys, crafty hillbillies, derailments) with a delicate development of romance between Willie and Virginia Canfield, the young woman sharing his coach. Virginia is played by Natalie Talmadge, Buster's wife at the time. She's pretty and appropriately demure, but it's easy to see why she didn't become a star like her sisters Norma and Constance. She looks nervous and insecure in front of the camera. In addition to featuring Buster's wife, son and father (the lanky, irascible train engineer), Our Hospitality was the swan-song of Big Joe Roberts, who played the "heavy" in almost all of Keaton's early films. Already ill during the making of this film (he died shortly after it was completed), he plays the aged, forgiving patriarch of the Canfield clan.

The sequence set in the Canfield mansion, where Virginia invites Willie to dinner (not knowing he is the last remnant of the rival McKay clan), is very funny, playing the murderous feud against a stately, antebellum gentility. I love the way all the men keep one eye open during the saying of grace; Willie's frantic efforts to avoid leaving the house; and his attempts to court Virginia while dealing with her gun-wielding brothers. Once he flees the house, the film shifts into high gear. The long chase, making full use of the rugged landscape, is exciting and contains much dashing stunt-work on Buster's part: his fall off a cliff while tied to another man, his ride through the river rapids (he almost drowned due to a mishap making this scene—and it's in the movie!), culminating in the famous waterfall climax. I don't want to give away exactly what happens: I'll never forget the thrill of seeing it for first time, unprepared. But even without the element of surprise, the beauty of this stunt, the pendulum arc he describes with his body, always takes my breath away.

One final note: contrary to what someone wrote elsewhere on this page, it was not "standard practice" for silent stars to do all their own stunts. Buster Keaton was unique in never using a double, and probably no star ever took greater risks or endured more physical suffering than he did in the interest of his art. But the supreme achievement is how effortless and understated his performances are; he's not showing off, just attending to the task at hand.

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11 out of 11 people found the following comment useful :-
Beautiful effort from the King, 18 May 2005

Author: Kiddman from Oregon

This fine film represents one of the earlier attempts at "dramedy", long before the term was invented. The story has a highly realistic feel to it, yet the funny stuff is never far away.

The film does start a bit slowly as they set up the story, but things pick up quickly once the funny (but true, from an old photo) shot of 1810 Times Square hits the screen.

The little train which takes Buster to Kentucky is a hoot, and THAT is based on the real 1830's deal, too. Movable, bumpy, flimsy tracks and a couple nutty characters and situations are highlights.

My favorite bit in the whole film, though, is when poor Buster realizes the fabulous mansion he thought he was inheriting turned out to be a broken-down shack, ending his dreams in spectacularly explosive fashion.

The story was strong and believable, and the climactic (and very dangerous) scenes at the river and waterfall were amazing. As a matter of fact, these scenes are so impressive, it's easy to forget that they are funny; this is the only reason for me to not give the movie a 10.

Side note to those who have said the poor soundtrack detracted from the film: If you EVER have the opportunity to see this or other silent movies in their proper environment (A glorious movie palace with live musical accompaniment by theatre organ or an orchestra), DO it! The "half-live, half-canned" aspect is very important to the enjoyment of silents. It also keeps any film you've seen many times (as is often the case with "The General" or "Phantom") fresh. Even the same organist doesn't play the same film the same way every time, and a different organist can accompany the film in such a different way that it can almost fool you into thinking you're seeing a new movie.

I'm one of those lucky enough to have done so and there's nothing quite like it.

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9 out of 9 people found the following comment useful :-
Excellent fun, 18 November 2004
Author: PiranianRose from USA

Our Hospitality is truly a work of art from the silent era. Buster Keaton amazed me with his stunts, which I dare say do not pale in comparison with those of Jackie Chan. The story is filled with wit and suspense. At times you laugh, at times you gasp, at times the world trembles as Keaton delivers death-defying stunts. This is one of the first silent movies I watched in its entirety, and I was thoroughly impressed with the film-making quality. While I wouldn't go as far as to prefer silent movies over their contemporary sound counterpart, I like how soundless movies invite you to pay particular attention to the facial expression--it's all there in the actor's face. I personally prefer Our Hospitality to Keaton's acclaimed "The General."

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8 out of 8 people found the following comment useful :-
A parody of the Hatfield-McCoy feud, 17 March 2001

Author: David Hoffman from Virginia

There has never been a more comic use of a `train' (if the label is appropriate) than in this film. This is ingenuity at its finest, the most sustained comic sequence I've ever seen. Travelling from New York ca. 1830 to the Appalachians to claim an `estate', Keaton on this journey provides the highlight of the film-and what a highlight it is! From the bouncing actions of passengers to the lifting and moving of track, this series of images is non-stop pleasure. A dog, a hobo, a man throwing rocks at the engineer, a mule-all are inspired catalysts to laughter.

Once Keaton (a McKay) reaches his destination, the movie changes pace. And despite many good moments, especially those when Keaton has taken up `permanent residence' at the Canfields, the humor never reaches the level of the first portion of the film. Nonetheless, Keaton's genius is evident throughout the film, and it is this ability to innovate that constantly amazes.

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9 out of 12 people found the following comment useful :-
Amazing!, 26 October 2005

Author: Claudio Carvalho from Rio de Janeiro, Brazil

In the Nineteenth Century, there is a feud between the McKay and Canfield families in the country of the United States of America. When John McKay is killed, his wife sends their one years old baby Willie to New York to be raised by her sister. Twenty years later, Willie McKay (Buster Keaton) returns to claim for his family state. Along the train travels, he meets a young lady and they fall in love for each other. However, she is the youngest Canfield and her family has not forgotten the quarrel against the McKays.

"Our Hospitality" is amazing even in the present days. Without use of computer, as the present generation has accustomed to see on the screen, Buster Keaton participates of fantastic timing scenes using his physical capability, such as in the waterfall, or in the train water-tank. Further, there is a very interesting scenario, showing the crossroad between Broadway and Forty-Second Streets in New York based on a 1830 painting. Willie's dog, his bicycle and the funny train are other attractions of this great movie. My vote is ten.

Title (Brazil): "Nossa Hospitalidade" ("Our Hospitality")

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3 out of 3 people found the following comment useful :-
Great End Part, Otherwise Uneven, 30 January 2007

Author: Stablemate from From a hilltop in Stockholm, Sweden

Although not Keaton's greatest film, this one has sure got some really great moments. The build-up is rather slow while the main plot is being established: 1830s Kentucky. Keaton gets invited by a pretty girl to attend her family dinner. What he doesn't realize until too late is that the family in question is his inherited mortal enemies in a blood feud that has been going on for centuries. The girl's father and brothers all want to kill him but is prevented from doing so until he has left their house (hence the title).

Our Hospitality has got some amazing action sequences but the tempo is very uneven. The early part of the film treats us to some beautiful replicas of old vehicles including trains and bicycles and also some of Keaton's usual train-rail comedy. The middle part, where Keaton guests his blood feud enemies is full of running in and out through doors. Up until now everything has been pretty slow. The last third of the movie though, is truly mind boggling! Keaton and a chasing gunman falls down cliffs, flows down rivers and waterfalls, jumps in and out of moving trains and so on while tied to each other with a rope around their waists. It must have been through watching this James Bond learned his action trade. Our Hospitality however, has also got a lot of comedy in its moments of unbelievable action.

Good fun.

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3 out of 3 people found the following comment useful :-
Keaton's family members perform in delightful morality tale., 6 July 2005

Author: (aandersen@landmark.edu) from Putney, VT

*** This comment may contain spoilers ***

This is one of Buster's best features. It's far more serious than any other film he ever made with its deadly feud and its plea for tolerance. It neatly divides in half, the first half on one of the first trains ever constructed, not a replica but a borrowed museum piece. The second half takes place at and around the home of his new girlfriend, trying to evade her murdering father and brothers.

The train journey is inspired and far funnier than the gags used in the later THE GENERAL, and some are repeated in that later film, primarily the engine and train disconnecting and the latter going off on a side rail, only to come back onto the main track, ahead of the engine.

What is most marvelous is that Keaton's father, Joe (the engineer), his son, Buster, Jr. (his character as an infant), and his wife, Natalie Talmadge (the girl, Mary), are all in the film with him.

***ALERT - SPOILERS AHEAD**** Great gags in the train sequence: the dog keeping up with the slow moving train throughout the journey; the ruse of rock throwing to get free firewood; moving the track to go around a stubborn mule; getting off the track entirely and meandering down a country road.

Once in town, we have the classic attempted rescue of a woman from her abusive spouse only to be clobbered himself, his dream estate actually blowing up when confronted by the miserable truth, the sudden new waterfall that miraculously hides him from his foes, the indoor/outdoor chase to avoid being shot, the dog fetching the unwanted hat, the horse made up to look like the escaping Keaton disguised as a woman with an umbrella; the fall from the train into the stream and the nonchalant paddle as the car is turned into a boat; and of course the extraordinary precision of the final waterfall rescue.

Oddly enough the KINO print (crisp, clear)makes use of two Jerome Kern tunes in its score for horns, violin, and drum - WHIPPOORWILL and LOOK FOR THE SILVER LINING.

This is a wonderfully inventive comedy and safely walks the line of making its serious points without bringing high spirits down. A must-see, especially as a double bill with his later, THE GENERAL.

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6 out of 9 people found the following comment useful :-
Great Movie!, 6 May 2002
Author: Michael (l906w) from Providence, RI

This was the first silent movie I had seen and I am eager to see more. This film had everything ... comedy, action, romance, great music, etc. It's still amazing that a film made over almost eighty-years ago is still better than 90% of the crap out there today.

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6 out of 9 people found the following comment useful :-
Keaton's Craft, 17 January 2001

Author: harry-76 from Cleveland, Ohio USA

"Our Hospitality" displays the skill of Buster Keaton very admirably. After a somewhat slow start in the Prologue and beginning of the Story, the pace picks up and continues to become more and more interesting.

One appreciates the great care Keaton takes in setting up his compositions, noted for their clean lines and balanced geometric planes and forms. Images are nicely stuctured, and one gets a feeling of classically executed set designs, with room to breathe. The lines of the Keaton poems are not extended to the end; rather, room is left for the viewer to fill in phrase endings with personal responses.

This 1923 silent classic holds up quite well, and one notes the remarkable physical stunts Keaton pulls off, in the standard silent era custom of not using a double. The actual comedy comes off best with an audience: the phenemena of group laughter can be infectious, and this film can really take off in a full theater.

The post-added music on the sound track is adequate, while not inspired. To compare Chaplin's supervised score to "Modern Times" with this shows how superior is the Chaplin work.

"Our Hospitality" is a worthy tribute to that enormously creative talent who well earned his legendary status-- Keaton.

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1 out of 1 people found the following comment useful :-
"Splendid! He'll never forget our hospitality", 6 August 2008

Author: ackstasis from Australia

After 'Three Ages (1923)' proved that he could direct a feature-length comedy {he had merely starred in 'The Saphead (1920)'}, Buster Keaton followed up its success with 'Our Hospitality (1923),' a film that set the mould for the type of films that he would continue to produce for the remainder of his time at United Artists. Keaton plays the polite and well-meaning dolt, incredibly naive to a point, but, when roused into action, he has all the determination, daring and agility of a circus performer. Natalie Talmadge, as the pretty and delicate Virginia Canfield, provides the necessary romantic subplot, just enough to please, without saturating the story's more exciting elements. The overwhelmingly-quirky comedy is rarely laugh-out-loud hilarious, but there's a certain quaintness and modesty to the material that really works, communicated most noticeably through Keaton's characteristically-underplayed slapstick performance. Silent comedians often compensated for the absence of sound by grossly exaggerating every expression and gesture; Keaton, on the other hand, reacts to each new obstacle with the solemnity of a monk, his inconceivable deadpan passiveness somehow amplifying the humour.

It probably wouldn't be unreasonable to assume that 'Our Hospitality' was originally conceived to accommodate Keaton's passion for locomotives, and he was able to indulge in the construction of a working Stephenson's Rocket – an early steam train with a 0-2-2 wheel arrangement. This petite little locomotive provides some of the film's most memorable comedic moments, most of the enjoyment derived from low-key, episodic sight gags, whether it be Buster trying to wear his top hat in the cramped carriage, the dog that is continually in pursuit, the back wheels that roll loose, the donkey blocking the tracks, or the tracks themselves, which determinedly follow the contours of the earth with precarious rigidity. Though this little train scarcely travels at a walking pace, some of the techniques that Keaton developed here would come in handy four years later, when he filmed his Civil War train epic, 'The General (1927).' The remainder of the film is a sharp comedy-of-manners, as the wealthy Canfield family plots to murder Keaton's Willie McKay, the culmination of a generations-long feud between the two warring lineages.

Production took place from a screenplay by Clyde Bruckman, Jean C. Havez and Joseph A. Mitchell, and the writers aim a few good-natured digs at the American South. The family feud, which is continued throughout the decades despite the fact that nobody remembers how it began, sounds too ludicrous to be true, but I was surprised to learn of a firm grounding in fact – the story was, indeed, based on the bloody real-life feud between the Hatfield and McCoy families. Paradoxically, the film also celebrates the indomitable "Southern hospitality" of the local folk, and the Canfield family (led by Keaton-regular Joe Roberts, in his final role) grudgingly agrees to only shoot their hapless enemy once he has left the cover of their home and so has ceased to be their guest. As one might expect, Buster Keaton risked his neck on more than a few occasions, the most unforgettable stunt involving his dangling precariously from a log perched at the crest of a waterfall, and his daring acrobatic rescue of the beautiful damsel-in-distress. Talmadge may have been replaced by a dummy, but Keaton was there, as always, in the flesh.

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