Word: keaton
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Dates: during 1970-1979
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...made moviegoers laugh as often and as well as Chaplin or Keaton. His work, which has won three Oscars, is among the best of American film comedy. Yet he has never appeared onscreen, and his name-Charles M. Jones, when a producer wanted him to sound classy, or Chuck Jones, as he now prefers to bill himself-is scarcely known outside the movie business. Jones has spent his nearly 40-year career in the ebullient but usually anonymous medium of the animated cartoon...
HARVARD-EPWORTH CHURCH, Aves--Magnificent Frigate Bird, Great Flamingo, by Nancy Graves (1973) and Viva L'Italia, by Roberto Rossellini, Nov. 29 at 7:30, $1; The General, with Buster Keaton, Dec.2, at 4, $1, people under 16 and over 65 free; The Town by Josef von Sternburg, and History Lessons (1973), by Jean-Marie Straub, Dec. 2, at 7:30, free, sponsored by the Institute of Politics...
...landscape, bare horizon, the tone of a silence between phrases, the quality of an incompleteness. Imagination is dead--except for the imagination of how it would be without imagination. The late Beckett works grow more and more indeterminate, and the masks of the characters more featureless. It is Buster Keaton, "The Great Stone Face", who stars in Beckett's only film script--and even the title is unwilling to commit itself to anything more specific than Film. In the thirty-five second long Breath, the only elements are rubbish and recorded cries and breaths. (This sequence, Alvarez somewhat startlingly reveals...
...develops any dramatic tension within them, partly because he seems to have no firm attitude toward them. Modernism was an actively malevolent force in Chaplin's Modern Times; Tati sees it as nothing more than a minor nuisance. His greatest problem, however, is that unlike Chaplin-or Buster Keaton-he hasn't the faintest idea of how to link one gag to another, building the kind of comic line that tightens, tightens, tightens around them and ensnares the audience in analogous helplessness, the kind that results from masterfully orchestrated laughter...
...aimlessness that hangs so heavily around Playtime is thickened by the fact that Hulot cannot be said to be a character in the sense that Chaplin's Tramp or Keaton's Great Stone Face was. He is passive where they were active-even revolutionary-in their relationship to the things and the people who tormented them. Chaplin was insouciantly defiant when pressed, Keaton manically inventive. Both were also incurable romantics. They were people of dimension, people with plans and aspirations and a wide range of feeling. One could identify with them, suffer and exult with them...