Film

I was under the impression this film is titled, The Goad, as a theatre prof. in college (who did her dissertation on Beckett) told my class. At the time I saw this film I thought it was weird, but I still remember it and it is an inspiration to my own short-film writing even now.

This is one of the most rewarding short films I have ever seen - and I have seen many! - and it haunts me even now, more than 35 years after I saw it for the first (and only) time. That was during a cinema club season in Bergen, Norway, where part of the program was a "short film night" devoted to silent movies, short movies, and various combinations of these. The audience was clearly confused, since "Film" was obviously not what most had expected. And in company with "Nosferatu" (l922), "Freaks" (1932) and "Terminus" (1961 - a documentary of a British railway station) it did strike a very different chord than sheer horror and sober facts did.

Beckett's work at that time was slowly gaining ground in Norway, as did Pinter's - trying to promote either was an uphill task in a mountainous country unused to modern drama and more tuned to sports. The discussions in a seminar after the showing proved this... But this resistance to something obviously alien did not detract from my pleasure (and several others') in relishing a masterpiece, where nothing could have been improved on. A book called "Film by Samuel Beckett" was published by Faber in 1971, and generously offers complete scenario and a profusion of illustrations and production shots. It has also comments by Beckett and an essay by Schneider, and is a useful substitute for anybody without access to the Film itself.

Agreeing with other commentators, I can only say that this is really an absorbing and disturbing experience - quite unique! And one that leaves you thinking and wondering and shuddering for a long time.

Considering the other comments, there's little to add about the movie, but I know these few facts surrounding it. When Schneider visited Keaton to see whether he'd do the movie, Schneider found Keaton in a poker game w/ three empty chairs, which represented three of Keaton's companions--all dead, but Keaton continued to play.

Keaton was mystified by this script, too, as by "Godot", but wanted the money. He suggested several comedic bits be added, because he thought the whole thing would be less than five minutes. In New York, he wanted to use one of his flat hats rather than the bowler Beckett had written in, and Beckett immediately agreed.

The film was shot in mid-summer in a very hot New York, each day over 90 degrees. Keaton (age 69, and not in great health: he died less than two years later) never complained as he had to keep running along that brick wall in the heavy overcoat.

It was Beckett's only visit to the U.S., and he never got outside of New York, and left the U.S. as quickly as possible.

I rate this 7/10 for fans of Buster Keaton. If you don't like Buster I doubt you'll find this short film interesting.

This is a homage to Buster Keaton by Samuel Beckett who is playing with the ideas of subject and object in a world where perhaps we have no control over who is doing the watching. Beckett had been influenced a great deal by the genre of comedy and acting that Keaton personifies. Many of his books and plays feature tramp-like, down-and-out characters and he uses the physical comedy routines of vaudeville and silent films of the early 20th Century in many of his works. He and Keaton both share the idea of man thrown into an uncaring world where they are left alone to survive among its absurdity.

However later Beckett stated : "Buster Keaton was inaccessible. He had a poker mind as well as a poker face. I doubt if he ever read the text - I don't think he approved of it or liked it. But he agreed to do it, and he was very competent." Buster had turned down overtures from Beckett before, but he was in debt, and the story is that his wife talked him into it.

Note actor James Karen as a reverend in the alley towards the beginning. Karen worked with Buster Keaton in touring productions of the comedy "Merton of the Movies" in the 1950s.

Samuel Beckett's only film--appropriately titled Film--is a short (26 minutes) near-silent piece. Because of that, and because the work invokes the feel of the silent era, albeit in Beckett's peculiar way, it's perfectly fitting that Beckett chose Buster Keaton as the main character (for almost the entire film, the only character). The black-and-white photography, the old furniture, and the peculiar garments of the just-as-old apartment building's tenants all contribute to the mise-en-scene that harkens back to a time when automobiles had only been around for about 20 or 30 years.

There's a perfect link of Beckett's intense focus on the self with Keaton's now-wizened features. When the screen is filled with Keaton's eye alone, you can see the wrinkles surrounding it; you can tell Beckett has more in mind than just doing a close-up. As Keaton arranges and rearranges the things in his sparse living quarters, and goes through pictures of himself, often hiding from the camera, you begin to see what's going on: is he, the character, only who he sees in the mirror, and in pictures, or is he other than that?

For this emphasis on the solipsistic, the length of Film is perfect. Any longer and it could have been a bit tedious. But Keaton lends it a few touches of his by now archetypal humor--wholly improvised--which Beckett found delightful, and Alan Schneider, the director, applauded. This is a unique work that any serious student of film should have in her/his library. It was formerly included in a VHS collection of Keaton's work but now, alas, does not seem to be available any longer.