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sherlock jr letterboxd

January 19, 2021

Jon uses Letterboxd to share film reviews and lists. (My ancient Kino DVD—a twofer with Our Hospitality—lists its runtime as 44 minutes.) Keaton’s other great love is his desire to become a detective, and in the first shot he is seen devouring a book outlining the key criteria as to how one can become a great detective (and he is wearing a fake moustache ti indirectly preempt Crane’s first sighting). 461 films watched. Carter84 uses Letterboxd to share film reviews and lists. It seems literally contrary to the laws of physics. ... Sherlock, Jr. (1924) Rotten Tomatoes® 94%. They are all in the movie dream in a manner that will pave the way for "The Wizard of Oz" where we know they have no idea of how their doubles performed inside the dreamer’s mind. Film profile for Buster Keaton, Director and actor, born 4 October 1895. Bio: I love and watch movies because it give me a short break from my life. Film data from TMDb. His silent movies are his greatest triumphs, not because he was unable to produce quality noises, but because in the silent years he had total freedom to work with precise precision in assembling his gags, stunts and chase sequences both in front of, and behind, the camera lens. At three-quarters of an hour in length, the movie is only five minutes longer than the maximum duration boundary for shorts to qualify as Oscar possibilities in those categories, but having seen the film dozens of times I never feel like the barely feature-length running time is an issue. We gathered how rich he is because an introductory intertitle informed us that the father had so little to do during the days that he hired a male companion (Erwin Connelly) to aid him with doing nothing. The understated facial reaction will remind viewers of an older Bill Murray’s stoic response to external circumstances, although few stunt doubles would have been willing to perform such a set piece. Seven Chances (which is one of my dozen or so favorites of all time) makes me laugh more consistently, and Sherlock Jr. "suffers," in a very negligible way (let's call it four points out of 100! Keaton has the live audience in the bottom portion of the frame but they reside like very still spectres, showing very muted reaction to the unintentional comedy up on the screen, as their projectionist is subsumed in a form of entertainment that should incite wild reactions. When Keaton first walks into Hearts and Pearls, it's easy enough to comprehend that he's simply stepping onto a set that's been framed to look like a movie screen; when he does so the second time, however, discovering that the film-within-the film has just cut to a different scene, the edit in Sherlock Jr. itself is nearly impossible to spot unless you look at the audience, which shifts ever so slightly. 96. For all the titles in my great movies collection: letterboxd.com/davidwallace/list/great-movies-collection/. Jun Paul Schrader. The film's most famous trick shot involves Keaton jumping into a small suitcase and disappearing. But the reflexive ending, with our hero repeatedly consulting onscreen lovers for tips on how to woo his own paramour, ties a satisfying life vs. art bow onto the whole thing. Inglourious Basterds (2009) Rotten Tomatoes® 88%. © Letterboxd Limited. 518 films watched. (He then performs two more complicated near-misses without an edit; those shots aren't as insane, but do seemingly require him to put the cue ball in exactly the right place via shot #1.) Sherlock Jr. (1924) Global Flickchart Rank: #143 My Flickchart Rank: #972. Osiris66 uses Letterboxd to share film reviews and lists. Favorites: The Princess Bride (1987), Sherlock, Jr. (1924), One Flew Over the Cuckoo's Nest (1975), Spirited Away (2001). Reviewed by Eduardo Rodrigo Peretto Scapini, letterboxd.com/davidwallace/list/great-movies-collection/. He risked his life for the house-falling stunt in "Steamboat Bill, Jr.," but he doesn’t ask us to be afraid for him or impressed by him.’ That particular Keaton moment is arguably his most iconic image in a reel of highlights, just as Lloyd’s desperate clinging to a clock tower in "Safety Last!" 106. It just felt like a better number to stop at. "Sherlock Jr." is one of his best features. Watched He grabs hold of a water pipe as the train passes below his feet and is powerfully washed to the ground. This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. My arbitrary definition of a feature-length film—no less than 45 minutes—was derived specifically from Sherlock Jr.'s length, as noted in Leonard Maltin's Movie Guide; it's the shortest film I found listed there, so that's where I drew my line. There will always be conflicting assessments as to who was the greatest of all the comedic clown performers during the Silent Era of filmmaking. When the front facade of the house topples upon Keaton and our plucky protagonist remains standing as the gap in the window frame passes around his body frame, he casually turns his head backwards to inspect the damage quizzically, but without overly theatrical swoops and contorted facial expressions. Dario uses Letterboxd to share film reviews and lists. At one point Keaton uses another superimposition effect to show him dive out the window from a visible interior to a suitcase perched with a ready-made costume, and he casually saunters away without any hiccup in the accomplishment. My arbitrary definition of a feature-length film—no less than 45 minutes—was derived specifically from Sherlock Jr.'s length, as noted in Leonard Maltin's Movie Guide; it's the shortest film I found listed there, so that's where I drew my line. You might wonder why this list doesn't contain 250 items: this is a list of films that appear on both Letterboxd and IMDb's top 250 lists as of July 26 2020. My current favourites in Letterboxd (I would add images or links to videos if I could) 1:Heimat - Edgar Reitz -The best tv series ever. Letterboxd's top 100 films list as of 1/30/2020. Like reality repeating itself in a nightmare, once again it is Crane who pushes him back out of the frame (and her life) to the other side of the screen - a sure sign that only one of these men can reside in this picture without disruption to Crane’s characters villainous intentions. ), however, it's not just that the 13 ball stays put. All Quizzes. he’s a prisoner of cinema - and of all the tricks at a filmmaker’s disposal.’ Unlike in his reality where he can divert from the rectangle, here he is at the mercy of the experiment and though Keaton probably never intended it to be analysed as such, there is a strong sense of this segment channeling dream logic as the dreamer’s immediate dive from waking life mixes with fragments of thoughts until it gradually settles into something more cohesive. Instead of being chosen by film experts, the Letterboxd community voted on various movies to represent must sees and this was the result. I recently expanded the list to 250. Having been utterly flummoxed by this gag 25 years ago, I was determined to solve the mystery for myself this time. Murray states how the gags are based on ‘Keaton moving on the same plane as the other characters’ like a primitive computer game where two-dimensional characters could only move along the horizontal axis from the left or right side. Letterboxd Top 250 Narrative Feature Films (Dec 2020 Edition) - Page 3 show list info ... Sherlock, Jr. (1924) Rotten Tomatoes® 94%. Guess the highest rated films on the site as determined by Lettterboxd users. It is debatable whether the film represents the pinnacle of Keaton’s best work, as many would choose "The General" (1927) for highest elevation, but "Sherlock Jr." is the perfect entry-point into his filmography, and also a splendid starting title for a daunted virginal viewer to experience their first film without sound. Bio: I … Keaton must make do with purchasing the cheapest chocolate box after returning cinema patrons enquire about lost property, and Keaton reluctantly hands over the cash once satisifed that the money did belong to the correct owner. Film critic Noel Murray discusses this sequence in detail, positing the conceptual thought that the film is all about a geometrical rectangle (within the frame of the screen that is displaying the film). In other movies from the era there is a tendency for one character to avoid saying something important to another character that would nullify the entire narrative, but on this occasion the plot respects its character’s intelligence. defines his famous status. What if I took the official "1001 Movies You Must See Before You Die" list and combined it with Letterboxd's 1001 Movies You Must See Before You Die list? Back at work, he falls asleep in the projection booth and dreams that he literally steps into the movie screen, where instead of a clueless grunt, he’s a suave, sophisticated detective named Sherlock Jr., who solves the crime. And triply arbitrary given that in fact it took me well over an hour to reach "The End," because I kept replaying gags over and over in what was often a futile effort to work out how they were accomplished. He opts to peak through the frame of the projectionist booth out into the darkness of the movie theatre and take his cues from the male and female actors now performing a romantic scene of tenderness. What an ending. This doesn't seem like a feat that even the world's greatest pool shark could manage; I watched it—again—again and again and again, and cannot for the life of me see how it's possible to deliberately engineer that result. 1001 Movies You Must See Before You Die (Letterboxd Edition) show list info. No better example of three-part structure than the "money lost in the trash" bit, which uses recurring humor to set up the punchline for a third iteration (Keaton pre-emptively handing his last dollar bill to the behemoth), then trumps that joke with another, truly unexpected fillip. Second viewing, last seen New Year's Day 1995. When he gifts the chocolates he specifically turns it over to try and draw her attention to the price he paid. Charlie Chaplin, perhaps the most famous to a modern viewer, frequently makes us feel more pathos and empathy than anyone else with an emotional clout and social commentary permeating, but this irks some detractors as sickening sentimentalism. It would be a mistake to engage with a silent movie without the non-diegetic score unless you are a battle-hardened viewer of the medium. Sherlock Jr. (1924) cast and crew credits, including actors, actresses, directors, writers and more. Originally he had hoped to co-direct the picture with his mentor Roscoe 'Fatty' Arbuckle, after remaining a loyal friend to the man in the aftermath of a scandal that ruined his reputation, but once issues arose during filming Keaton wisely protected his art tactfully without severing his relationship with Arbuckle. He did not set out to make something akin to surrealism, yet as we view the film almost one hundred years on from its initial release we can appreciate how Keaton’s forward-thinking, fortitudinous approach predicted the radical notion that the celluloid form of moving pictures could conjure a dreamworld of abstractions. 24. In another bewilderingly elaborate vaudeville feat of trickery (not a cinematic ruse), he dives into Gillette’s outstretched arms through a tray and ostensibly seems to vanish into his partner’s stomach. This too has a Top 250 and while there are a plethora of similarities to IMDb's, there is also a myriad of differences. Favorites: The Good, the Bad and the Ugly (1966). Bio: I have been a lover of films for as long as I can remember. Pather Panchali (1955) Rotten Tomatoes® 97%. 01, 92. Most of the trick shots Keaton performs in the pool scene are just that, merely requiring months of practice to pull off. The theatre manager (Ford West) scolds Keaton for sitting around learning the rules of this occupation with a messy floor of cinema guests’ leftover waste needing swept up in his current job. Comedies, Dramas, action/adventure, mysteries, superheros; I watch all genres. The Ascent (1977) 97. I'm assuming that ball was glued to the table. Favorites: Birdboy: The Forgotten Children (2015), The Breadwinner (2017), Waking Life (2001), Loving Vincent (2017). This gives the film its final riveting gag to leave the viewer smiling as the end title card is displayed, and it perceptively articulates how human beings tend to pluck up extra courage by imitating the larger-than-life movie stars of their escapist leisure time. Keaton directed further reels and intended "Sherlock Jr." to be much longer than its final edited version, and he had full directorial autonomy to decide how best to shape his films as he did for all his art during the incredible output of the 1920s. [4,161 word essay] According to Buster Keaton the idea for his "Sherlock Jr." was anchored in a desire to capture the impression of a dream on celluloid, by blurring the distinctions between reality and fiction. After the protagonist follows his man (from right-to-left) until being detected, Keaton ends up on the top of a moving freight train jumping from carriage to carriage left-to-right, in another exquisitely well-placed camera shot where the actor completely trusts his ability to complete the stunt without being displaced from the stationary frame of the camera’s eye. Even the trick shots that are executed to perfection are all done by Keaton himself, there are no special effects or subliminal editing cuts to achieve the desired movement of the balls. Crane’s deception has been conducted in a desultory way prompting him to quickly improvise once the father discovers his watch is missing, and ironically he frames Keaton for the crime by slyly utilising the self-help bullet points in Keaton’s detective manual. (Sorry, "A Day in the Country.") Consider the act of him riding on the handlebars of a motorcycle amidst a slalom course of incoming traffic, ‘a veritable cascade of unbelievably complex gags’ (Time Out). This is something that endears him to a modern audience as many contemporaries hammed up their expression of an emotion for a fuller effect and this can play out as somewhat hokey by today’s levels of tolerance, whereas Keaton seems imported from a later period of cinema history with an understanding to the advantageous toning down of the theatrical style. Like an expert magician, Keaton misdirects your eye by gesturing at the crowd just before the cut, so that we're looking at him...and he's perfectly positioned before and after, making the action appear continuous and the effect seem impossible. I love Keaton’s reaction to his rival’s entry as he slightly elongates his neck with a perplexed look over his shoulder and a delicate blinking of his eyes, suggesting his stunned reaction with restraint at how someone of his social class could afford that item legitimately. Audience Reviews for Sherlock Jr. Aug 31, 2018 Simply a marvel of ideas and execution, Keaton's imagination alone is a bullet ride across The Twilight Zone and The Wizard Of Oz at the same time. Keaton’s films were never as popular during the zeitgeist of this formalist cinema, yet many of his works have in modern times grown in reputation and stature; arguably he is the actor/director who newcomers to the Silent Era tend to find most accessible, for his films generally do not feel as dated nor completely of their time, and they still make us laugh. His directorial style often feels very assured, as if he knew exactly where the camera should be stationed as he performed in front of it with impeccable physical timing. Plus it's just plain silly to criticize a movie for relentless awesomeness. The dreaming Keaton leaves his projection booth and moves to the theatre below where he enters the actual screen upon which the film is being projected. It's almost too astonishing, with so many consecutive dazzlers that it's hard to believe you're watching an actual film and not a Buster Keaton best-of. I finally admitted defeat and looked it up, but confess that I still have trouble mentally picturing what happens, even after reading a detailed description. The 1001 Movies You Must See Before You Die book series but with a twist. Mike is using Letterboxd to share film reviews and lists with friends. 96/100 Second viewing, last seen New Year's Day 1995. Random ... Sherlock, Jr. 90. Sherlock, Jr., 1924 - ★★★★½ Source: Letterboxd - Thijs Meuwese Published on 2021-01-01 The Cameraman, 1928 - ★★★★½ For example, he turns up in various concealed disguises at a moment’s notice, and partakes in two of the greatest instances of cinematic trickery that will have you scratching your head as to how they were achieved. In terms of just plain awe, I'd say cinema peaked here, ludicrously early. Rewatched Join here. One need only consult moments on live television where sound is momentarily lost and a presenter is accidentally rendered speechless to accept how much spectators depend upon the audio-visual dynamic for convenience. One further acknowledgment as to how astutely practical Keaton’s thoughts on the nature of cinema’s illusions continue to be remarkably relevant. ratul uses Letterboxd to share film reviews and lists. Sherlock Jr. was also Keaton's most complicated film for special optical effects and in-camera tricks. 91. It was achieved through the power of suggestion, for Keaton had a stage built to mirror the movie’s location and give the illusion of the character somehow stepping through the screen. This presents one of the film’s biggest laughs as he immediately follows behind the tall figure of Crane walking in synchronicity along the footpath and even clipping his heels from the very close shadowing. 64. He waltzes in to surprise the daughter as she sits next to Keaton on the couch with the two would-be lovers nervously attempting to proceed with physical gestures of affection. (The accomplice walking away afterwards—with no cut that I could discern in this instance—is the sticking point.) Letterboxd and IMDb Top Films - Page 3 show list info. It is a film he simultaneously directed and gave a leading role performance, with all of the spectacular stunts executed by Keaton himself rather than a body double. 2,630 views ... Sherlock, Jr. (1924) Rotten Tomatoes® 94%. Peter Jackson. Films include The General, Sherlock, Jr., and One Week. As Murray describes the stinging joke scenario’s appeal through the realisation that ‘all the steps elided in editing can’t be shown on screen, no matter where Keaton sets the camera.’ That was true for a movie made in 1924 and almost one hundred years later it is still a risky taboo in a family feature film. This film is nearly 100 years old. Failed miserably. (Apparently I wanted to kick off the year with a certain winner.) Keaton was a veteran of the vaudeville life from a very young age, where I learn that his father threw him around from the age of three, and it was in these formative acts that Keaton understood how the live audience would be more inclined to laugh at his acrobatic and gymnastic endeavours when he finished with a neutral expression on his visage rather than smiling at the achievement. The difference is that Keaton’s stunt was not a trick shot; that was a real house falling down due to a movie interpretation of a cyclone, and as it collapsed there was only a few inches of leeway from the heavy structure landing on the man and seriously injuring him. We understand why he wants to impress the girl with a sign that he has a solid income, for she lives in a beautiful family home owned by her wealthy father (played by Buster Keaton’s father Joe). Or rather, the best series of films I’ve ever seen. Time Out calls this set piece ‘an astonishingly acute perception of the interaction between movie reality and audience fantasy, and the role of editing in juggling both,’ and certainly the editing is top-notch with Keaton’s physical body in the exact spatial position as one disparate landscape gives way to the next (very competent filmmakers can struggle to get this correct even when editing within a single location). You can see its influence in much later great movies, where characters dream of a perfect cinematic alternative world to live and breathe in to avoid the brutal horrors and disappointments of the cruel real world where they envisage themselves as self-loathing failures. Likewise when he wanders to the house of McGuire’s girl whom he plans to ask for her hand in engagement, he sneakily amends the pencil-drawn price on the box from one dollar to four dollars. But maybe it was akin to Sigourney Weaver nothin'-but-netting that no-look over-the-shoulder half-court shot in Alien Resurrection. The film that is being projected features characters whose identities will shift until they are all portrayed by tulpa replicas of the persons involved in the parallel narrative, leaving the film within a film to advance far beyond a background decoration. He invades the film’s diegesis because he takes exception to the Crane and McGuire characters in a romantic embrace. According to Buster Keaton the idea for his "Sherlock Jr." was anchored in a desire to capture the impression of a dream on celluloid, by blurring the distinctions between reality and fiction. The film was directed in 1923 and it is quite extraordinary to see such creativity during the infancy of the art form, yet Keaton is only warming up. This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. The stunt could easily have killed the man, but he stays fully in character with his reputation as ‘the Great Stone Face’ unharmed by this single take action moment - I learn that the camera operators placed their hands over their faces at the moment of impact as the fearless Keaton remained cool and composed, keeping the faith in his margin of error accuracy. The door opens to this mansion announcing Keaton’s arrival in the movie/dream and here he enters with clean white fitted gloves, a dapper outfit and top hat, poised and elegant with a professional swagger way that defies his amateur sleuth alter-ego. Gargantuan Must-See Movies List (Official 1001 List + Letterboxd 1001 List Combined) show list info. This leads to the film’s first extended gag as our hero discovers a dollar bill in the collection of rubbish and now has enough cash to buy an expensive box of chocolates in the adjacent shop for his object of affection. There's no cut when Keaton leaps through a display case and a human being's torso and a wooden fence, though. not solving the case) and taking comfort in a wish fulfillment fantasy secured by a lucid experience, which ultimately has minimal positive energy for those not being part of the dream, and her steadfast problem-solving is a welcome addition. Of course, since it is Keaton’s dream anything is possible and as it resides within a potent wish fulfilling urge to be taken seriously as a detective, the fact that the dreamer exists as invincible and indestructible can explain some of the incredible feats he endures. The genius of the film is how it draws us into this parallel narrative so deeply that we begin to forget that this is a dream, and even that it is a movie being watched by an audience because it so seamlessly ignites our full awareness with masterful sequences, such as the billiards table segment in which Sherlock dexterously avoids all the villain’s scheming traps. 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