The Cameraman (1928)

Director:

Edward Sedgwick

Writers:

Clyde Bruckman (story)
Joseph Farnham (titles)

Release Date:

22 September 1928 (USA)

Genre:

Comedy | Romance | Family | Drama

Plot:

After becoming infatuated with a pretty office worker for MGM Newsreels, Buster trades in his tintype...

Plot Keywords:

Rescue From Drowning | Monkey In Sailor Suit | Motorboat | Tong War | Man In Love

Awards:

1 win

Cast

Buster Keaton	...	Buster
Marceline Day	...	Sally
Harold Goodwin	...	Stagg
Sidney Bracey	...	Éditor (as Sidney Bracy)
Harry Gribbon	...	Cop

Runtime:

67 min | USA:75 min (TCM print)

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Certification:

Portugal:M/6 | Sweden:Btl | Spain:T | UK:U | Australia:G | Brazil:Livre

Filming Locations:

Balboa, Newport Beach, California, USA

Company:

Metro-Goldwyn-Mayer (MGM)

Trivia:

The Cameraman was used for many years by MGM as an example of a perfect comedy. They would get all their directors and producers to watch it and learn. Only two scenes were improvised on the spot by Keaton, one was the baseball scene, and the other is the piggy bank scene.

Goofs:

Continuity: When Buster breaks the glass in the door for the first time, the remaining pieces change in between shots.

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!

Movie Connections:

Featured in "MGM: When the Lion Roars" (1992)

Keaton's first film for MGM retains many of the best qualities of his earlier works

Seeing THE CAMERAMAN for the first time in pristine condition (thanks to TCM) and with a wonderful musical score to keep the pace going for the audience members not used to a steady diet of silent films, I was quite surprised. While THE CAMERAMAN does not really feature any incredible or death-defying stunts, there are a number of set pieces that provide exciting humor (the staircase sequence, for instance), and also some hilarious situations such as when he loses his bathing suit at the "municipal plunge" or when he has to protect his camera from the attackers during the tong war. Thankfully, MGM had not yet put Keaton in films that did not fit his established persona (SIDEWALKS OF NEW YORK) or that did not take advantage of his particular comic gifts (FREE AND EASY). Keaton is wonderful throughout, charismatic, sympathetic, agile. Marceline Day is a charming female lead and actually makes a three-dimensional character out of what could have been a superficial role in other hands. She continued working into the sound era until the mid-30s, but wound up in poverty-row features (see my review of SUNNY SKIES, where she is teamed with Rex Lease and Benny Rubin), many of which I've really enjoyed over the years (MYSTERY TRAIN with Hedda Hopper, the pioneering women-in-war film FORGOTTEN WOMEN/THE MAD PARADE, the VD classic DAMAGED LIVES, the outrageous camp classic THE FLAMING SIGNAL with Noah Beery, Henry B. Walthall, and Flash the dog, and the superb urban melodrama BY APPOINTMENT ONLY. The multi-talented Harry Gribbon, who began working for Mack Sennett in the teens, is well-used as the omnipresent cop who happens to be wherever Buster is doing something that looks fishy out of its proper context. I've been watching some of his sound comedy shorts recently such as RURAL ROMEOS and BIG HEATED, and he was superb as an arrogant bluffer, was a master of mugging and physical comedy, and even sang well in ROMEOS. Overall, THE CAMERAMAN is well worth watching and shows that initially Keaton was able to work well within MGM's system. Things began to slip with his next MGM feature, SPITE MARRIAGE, although many of the MGM features have something worthwhile in them (see my review of WHAT NO BEER, his last, and often considered his worst). With the recent attention given to the MGM films, I think I'll watch some of them again. From my memories of watching them about a decade ago, I remember DOUGHBOYS as being the least funny and most labored.