Hopelessly in love with a woman working at MGM Studios, a clumsy man attempts to become a motion picture cameraman to be close to the object of his desire.
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Director:
William A. Wellman
Stars:
Carole Lombard,
Fredric March,
Charles Winninger
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Stars:
Marion Davies,
Ralph Forbes,
C. Aubrey Smith
After becoming infatuated with a pretty office worker for MGM Newsreels, Buster trades in his tintype operation for a movie camera and sets out to impress the girl (and MGM) with his work. Written by
tvman@earthlink.net
This was Buster Keaton's first movie after the studio told him that he was restricted to his movie making, starting with this, he had to do what movies he was given. See more »
Goofs
At the start of the "date" scene, Buster is wearing white socks and does so through most of the date. But in the famous changing-room scene - and in another place or two during the date - he's clearly wearing dark socks. See more »
Quotes
Edward J. Blake:
[after screening Luke Shannon's lost newsreel footage]
That's the best camera work I've seen in years! Get that man in here quick!
See more »
THE CAMERAMAN is Keaton's last true silent (SPITE MARRIAGE was without dialogue, but was a "sound" film). Feared lost until a print was discovered in Paris in 1968 and finally made available on video in 1991 when an incomplete master positive was found and merged with the inferior 1968 print, this is very close to Keaton's original "conception" process when creating a feature film. He meets the unattainable girl and then tries to win her. She is uncertain but eventually chooses Buster.
A delightful new piano score accompanies the MGM/UA VHS of this work- sadly now out of print. There are five main characters. There are a number of memorable gags:
1. Breaking the MGM newsreel office door glass times three; 2. Solo on the empty ball field; 3. Running down multi flights of stairs to basement and up to roof; 4. The ride on the tire hub of the E37st bus; 5. Sharing the pool dressing room; 6. Diving and loosing his bathing togs; 7. Riding in the jump seat in the rain; 8. The collapse of the platform during the Tong War.
A delight in the last half of the film is the adorable monkey who interacts so well with Buster and in the course of the plot, saves the day by cranking Buster's camera.
It's a delightful film and full of invention. Very worth seeing.
The master positive used as the basis for the VHS release was missing the entire first reel, plus eleven "bits" ranging from whole sequences (the ball field, for instance) to simple three second reaction shots. When the stock suddenly changes from crystal sharp and clear to washed out and grainy, it makes the single strongest statement for film preservation and makes it "silently."
Don't miss this one!
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THE CAMERAMAN is Keaton's last true silent (SPITE MARRIAGE was without dialogue, but was a "sound" film). Feared lost until a print was discovered in Paris in 1968 and finally made available on video in 1991 when an incomplete master positive was found and merged with the inferior 1968 print, this is very close to Keaton's original "conception" process when creating a feature film. He meets the unattainable girl and then tries to win her. She is uncertain but eventually chooses Buster.
A delightful new piano score accompanies the MGM/UA VHS of this work- sadly now out of print. There are five main characters. There are a number of memorable gags:
1. Breaking the MGM newsreel office door glass times three; 2. Solo on the empty ball field; 3. Running down multi flights of stairs to basement and up to roof; 4. The ride on the tire hub of the E37st bus; 5. Sharing the pool dressing room; 6. Diving and loosing his bathing togs; 7. Riding in the jump seat in the rain; 8. The collapse of the platform during the Tong War.
A delight in the last half of the film is the adorable monkey who interacts so well with Buster and in the course of the plot, saves the day by cranking Buster's camera.
It's a delightful film and full of invention. Very worth seeing.
The master positive used as the basis for the VHS release was missing the entire first reel, plus eleven "bits" ranging from whole sequences (the ball field, for instance) to simple three second reaction shots. When the stock suddenly changes from crystal sharp and clear to washed out and grainy, it makes the single strongest statement for film preservation and makes it "silently."
Don't miss this one!