Sherlock Jr.

Sherlock Jr. is one of Buster Keaton's best films, and possibly his greatest. The film starts somewhat slow as it sets Keaton up to be a struggling wannabe detective. There are some comedy moments that play well and the opening is rather enjoyable.

But then, the film soon becomes 100x better as he literally steps into the movie that he is watching. We watch a sequence that maybe is not necessary for the overall story but what is a completely entertaining watch as the scenery changes in the movie he is in. Every cut is timed perfectly, even watching it back in slow motion is still a struggle to work out any unusual movements in his character between the scenery changes. It is brilliantly funny, especially when the scenery changes just as he is jumping into the sea to then jumping into a snow pit.

The rest of the film follows Keaton as he goes about as a habitually clever detective in the film he has entered. The gags are so brilliantly worked out that you don't know whether to laugh or to watch in amazement. You think that surely that gag was the greatest of the film but then he goes and tops it in the next scene. Keaton did all of his own stunts which makes it even more astonishing to watch, and sometimes rather intense especially when he passes over a train track being just inches from the moving train. It is a film that words cannot describe and that has to be seen to truly be believed. Sherlock Jr. represents the truly unique style of filmmaking from the silent era, something that you would never see any other time in the history of film.

If you're looking to get into silent film comedy, or just silent film as a whole, then Sherlock Jr. is a great place to start. Every part of the film is still as funny today as it must have been then. The timing is perfect. And the film is only 45 minutes long!

Though a lot of older films tend to be neglected, Sherlock Jr. definitely isn't a film that could be called obscure. I imagine most people at least know OF this movie with its famous movie-in-a-movie surrealist scene.

Still, having previously heard over and over again about the brilliance of this film, I never really understood until I saw it myself. It's not just the dream-story and the surreality, it's what Keaton does with it and the importance he places on cinema. This film is even rather unique in using montage in a new way, or showing how much film appeals to the imagination as much as an artistic endeavor.

Thus, this film itself becomes both wildly imaginative and brilliantly artistic... and best of all, it's FUNNY! Thus, it becomes a film for everyone. There's no hard-found artistic conceit that leads to cries of "Pretentious!", but still people can say "It's amazing." There's no comedic conceit that says, "Bah, just simple slapstick, it's low-culture!" because it's rather intelligently done. And it's creative in a way that isn't like an opium-dream. It can appeal to anybody of all ages. It's one very well-done film.

--PolarisDiB

Sherlock, Jr. arguably exceeds The General as Buster Keaton's greatest achievement -- it is certainly more magical in its use of extraordinary special effects and unconventionally humorous situations. Movies about movies are a dime a dozen, but rather difficult to do well. Keaton's brilliant structuring of the story -- a fantastic treat for audiences when his pathetic projectionist becomes the genius detective through a literal entering of the movie screen -- has been imitated dozens of times, but I always come back to this unsurpassable rendering. Watching Keaton play the scene where he studies how to go about kissing his best girl by peeking at a movie version of the same event always reduces me to simultaneous jags of tears and laughter.

This Keaton classic is both funny and extremely clever in its construction. Our hero is a cleaner but dreams of becoming a detective, always with his nose buried in a book on the subject.

The first third of the film is much like any other comedy. There are lost dollar bills, things sticking to other things, something stolen, mistaken identities. Our heroine is introduced in a charming scene where they seem terrified to hold hands. Her father is played by Buster's father Joe Keaton, who would appear in many of his son's films.

There's a mustachioed cad with slick hair and a sharp suit who is after the girl, a cartoon baddie who the audience instinctively knows deserves a hiss and not a cheer.

It is in Junior's other job as a cinema projectionist that the film comes alive. We are watching the film he has set up and then, suddenly, he is part of the action. In a sequence of great inventiveness, we see the film within a film changing scenes and watch with delight as the character adapts to each situation and surrounding.

Sherlock Jr is very funny but is also unusual and, in comparison with other comedies of the period, ahead of its time. It includes some excellent stunts that are the equal of anything done by Harold Lloyd in the same period, and, although it has a very short running time, manages to develop a good storyline throughout.

Justly feted as a masterpiece of silent comedy, Sherlock Jr represented one of the peaks of Buster Keaton's cinematic career. It is a film worth watching and has stood up well today.

Not only is this Buster Keaton's best film, but it is among the greatest achievements in the history of cinema, period. While it is not a feature-length film--and thus barred from most critics' lists of great films--it invented just about every single basic special effect known to movies (except for morphing). The story itself, about a film projectionist who desires to become part of the movies, and then does, by walking right onto the screen, made palpable the desire that we all have to be in the movies: To get the girl, to be an action hero, to outsmart the bad guys. Keaton invented meta-cinema before anyone even had a phrase for it.

This movie has entered our dreams.