Buster Keaton, today, is a silent sensation. New generations are coming to know Buster Keaton as the shining star of the silent era and a stunt man extraordinaire. Buster was certainly popular in his time, and, today, sixty years after his death, his work has stood the test of time.
As Buster and Charlie Chaplin continue to vie for the top spot as "King of Comedy" of the silent film era, we see Buster taking a narrow lead as more and more books are being written about him, new films and documentaries are bringing his name back to the forefront, and restorations are under way to restore his legacy, his monumental films of the past. The little man with the stone face, once called "the little iron man," has been beloved by many over the years despite that his troubled life was not always as pleasant as the man, himself. Buster had his issues, and his story has been told many times, however, here we discuss mainly his association with Roscoe Arbuckle.
Joseph Frank "Buster" Keaton was a mere tyke when he appeared with his parents, Joe and Myra Keaton, in a vaudeville act called "The Three Keatons." As he outgrew that role, Buster's desire to go out on his own eventually brought him to New York and the Talmadge Studios where he would find work under the direction of Russian-born producer Joseph M. Schenck, husband of Norma Talmadge, and brother-in-law of Natalie Talmadge whom Buster would later marry.
It was at that time that Buster met comedian, Roscoe Arbuckle through an acquaintance. In 1917 Roscoe was under contract to Schenck. Both Keaton and his father were cautious about the film industry, a feeling that came over many a vaudevillian, but Roscoe saw something in Buster's character that prompted him to give Buster a chance at his first film starring Roscoe called "The Butcher Boy." The film was a box-office hit, as were all the Arbuckle/Keaton shorts, and the pair, thus, developed both an enduring personal and work-related friendship making 14 films together. They became the best of pals.
"Buster" was drafted in 1918, into Company C of the 159th Division, 40th Division of the United States Army. He was sent over to France as part of the expeditionary force. Roscoe supported the Unit which was out of San Diego, becoming their "mascot." Buster would return home with a permanent hearing impediment, and very much alive.
Then came 1921 and the unfortunate scandal that would destroy Roscoe Arbuckle's name and career and push Buster Keaton out on his own. Buster purchased the studio Roscoe had owned in New York, Comique, and took off as director, writer, and star of his own productions, shorts soonafter transitioning to full-length features. Buster Keaton became a star in his own right, and like both Charlie Chaplin and Harold Lloyd, headed the studio and had full control of every production and every employee. When Joe Schenck suddenly up and decided that he did not want to be in the business any longer, he set Buster up with his brother, Nicholas Schenck, one of the studio big whigs at MGM where Buster was put under contract, but no longer able to be himself or to do the stunts he became famous for. He had been forewarned by Chaplin and Lloyd, and, no doubt, by Roscoe, not to forfeit himself for he would then lose complete control of his studio, his independence, and his career. Despite the good advice, Buster signed the contract with MGM and year by year saw himself cast lower and lower on the bill until finally his roles became scarce and minimal at best. He left acting to become a gag writer, still at MGM, for a mere pittance, though most of his comedic skits were written for new and upcoming comedians such as Red Skelton. The new generation of comedians adored Buster who was also instrumental in advising Lucille Ball to become a comedienne. Buster would later write in his autobiography that signing his independence away was the worst career decision of his life. Through the years, he accepted bit parts in shows and commercials in the new medium, television, and then in movies as late as the 1960's. He was working up until shortly before his death of lung cancer on February 1, 1966.
There was a special something about Buster Keaton and most everyone he knew noticed it. Beneath that austere, poker face, was a child-like enthusiasm for keeping up with the times, for retaining a good humor, and for a quality of kindness that prompted some to refer to him as the kindest man in Hollywood. For Buster, living and giving became a motto. He gave away much of his salary to those in need and continued to live modestly since his divorce from Natalie. His kindness and sense of justice toward the scandalized Roscoe Arbuckle nearly cost him his job. Along with Charlie Chaplin, Buster defended Roscoe publicly when the studios forbid it. Buster not only defended his friend, but he passed a good deal of his earnings on to Roscoe to help defray attorneys fees and help with other costs. Furthermore, he gave Roscoe a job directing some of his (Keaton's)films under the pseudonym "William B. Goodrich," a name Roscoe chose from his father.
Buster remained a loyal friend to Roscoe until the latter's untimely death in 1933, and until his own death thirty years later, Buster never forgot his friend, nor ceased defending him, keeping photos of Roscoe around in his home as a reminder of the years that were kindest to both of them.
During his later years, Buster Keaton had granted many interviews, several of them, in part, in defense of a dear friend.
Hats off! to Buster Keaton, a giant of a small man whose face beheld a special kind of beauty all it's own and whose heart was worn on his sleeve for all to see. God rest your soul, Joseph Frank "Buster" Keaton, a true nobleman, together again with your old pal for all eternity.
© 2023 by www.fattyarbuckleofficial.com.
All rights reserved.