An unimpressive but well intending man is given the chance to marry a popular actress, of whom he has been a hopeless fan. But what he doesn't realize is that he is being used to make the actress' old flame jealous.
Elmer is a dry cleaner. He is madly in love with stage star Trilby Drew; for each of her 35 performances, he dons someone else's tuxedo and races to the theatre. When Trilby's co-star boyfriend gets engaged to a socialite, she marries Elmer to get even, assuming Elmer is a millionaire (since his clothes are so snazzy.) But she's clearly still in love with her scoundrelous co-star, and her manager makes her leave Elmer, trying to pay him off so the papers don't hear about her marriage to a "cheap pants presser." Can Elmer win her love? Maybe a sea voyage will help. Written by
Buster Keaton wanted this film to be a full talkie, but MGM released it with only a musical score and sound effects. See more »
In the dressing-room scene while attempting to trim the hair for his false beard, Elmer accidentally severs the left-hand shoulder strap of his vest and has no time to repair it. When we see him hurriedly changing back into his smart clothes after the performance, both straps are still whole. See more »
You see, my dear fellow, it's me that your wife's in love with. She only married you for spite.
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Buster Keaton's last silent comedy was a change of pace from his earlier, independent features, lacking many of his distinctive idiosyncrasies but adding a refreshingly modern love interest with determined, temperamental actress Trilby Drew (Dorothy Sebastian), who unlike most silent film heroines gets angry, gets drunk, and throws a few well-timed temper tantrums. Because it's a corporate comedy from the MGM assembly line the film can be a bit plot-heavy at times, but even so allows room for some now classic routines: a Civil War stage melodrama sabotaged by Buster's accident-prone performance; Buster attempting to put his dead-drunk bride to bed; and a heroic chase and rescue aboard an underworld yacht. If Keaton was now performing gags that might have been suited to anyone (many seem Chaplin-inspired), at least he was doing so with his usual grace and deadpan precision, and the film highlighted a more confidant, aggressive side to his personality rarely seen in his earlier films.
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