One Week

What a wonderful short feature this is - it's very funny, filled with creative gags and exciting stunts, and also quite charming. The plot follows newlywed Buster and his wife in their first week together, as they attempt to build, furnish, and settle into their new 'do-it-yourself' home. There are lots of very wacky moments, with a great variety of inventive comic material. It's also quite endearing to watch the young couple having to contend with all the difficulties they face in setting out together. Keaton is really good at making his character sympathetic without getting bogged down in pity that would detract from the great humor.

"One Week" deserves its reputation as one of Keaton's finest achievements. It's a must-see for anyone who has even a passing interest in silent comedies.

Buster Keaton had been making films for three years, minus some time he was in the army, but this was his second film independent of his old friend and partner Roscoe Arbuckle. And it has a touch of something unseen in film up to that point - engineering as comedy. In 1920 comedy is just emerging from the pie throwing and pants kicking phase, and Buster is already on a completely different level from his colleagues.

Buster, still a bachelor himself, is shown emerging from a church with his new bride (Sybil Seely). They don't have credited names, for this is not a personal journey for the main characters. The trouble starts immediately with Handy Hank, resentful that the bride turned him down and then chose Buster. Oddly enough this guy is driving them to their destination from the church, and that turns out to be a lot with a portable house deposited on it, both being a wedding gift from Buster's uncle. There they find the house in boxes which they need to assemble themselves in the order of the numbers on the boxes. Handy Hank sees his chance for revenge by changing the numbers on the boxes so that the house will be assembled out of order.

The result is hilarious. The roof is on sideways, the porch is lopsided, there is a door to nowhere on the second floor that leads to the outside, and the rectangular windows have somehow installed to be a trapezoid, which is something that would be impossible just from incorrect installation. The kitchen sink has been installed on the outside of the house, but no problem, Buster has installed it such that it swivels like a revolving door and can thus double as a door and a sink that can be, in bad weather, moved inside. What about the foundation? Well, that becomes a problem later.

I'd highly recommend this as an introduction to Keaton even before you go back and watch his shorts done with Arbuckle and before his later independent efforts. It is much more carefully constructed than poor Buster's house. P. S. - Such portable homes were commonly sold by catalogue in the United States during the first half of the 20th century.

Keaton was now out on his own, no longer working with Fatty Arbuckel. 'One Week'was his first independent film. Joseph Schneck produced the film, having done work on the Fatty and Keaton shorts. The team of Buster Keaton and Eddi Cline directed and did script work as would follow in most of Keaton's other shorts. 'One Week' is definitive of Buster Keaton's style. It is purely gag over narrative. Keaton's performance is more important than the story, and that was pretty much how all his later movies worked. Keaton also enjoyed capturing the world around him as it happened. His stunts in this movie did not rely on editing. The house really did turn, the train sequence was real. This was a good beginning to what followed.

Buster gets married, and as a wedding present his uncle gives him and his new bride some land and a house to go with it, but only when they get to the lot do they realised that the house is not yet assembled!

The framing device of the week both gives Keaton the opportunity to devise seven comic episodes, and also gives the whole piece a wonderful unity. I rank this alongside The Boat (1921) as one of Keaton's best shorts, alongside The Electric House (1922) for the best use of gadgets (in case you didn't know, Keaton trained as an engineer, and so his films are filled with marvellously clever gadgets), and alongside The Scarecrow (1920) for general fun and enjoyment.

For me, this was THE perfect Keaton comedy.

One Week and The Scarecrow are the only two silent films that I can watch over and over and over and laugh like a maniac each time I see them. I have seen hundreds of silent films and seen hundreds of performances, but there is no performer, past or present, who was as versatile, good-looking, and out and out funny as Buster Keaton. He is the king to which all comedians should aspire and he leaves Chaplin thousands of miles behind in terms of comedy. Personally, I can't watch Chaplin without being all too aware that I'm supposed to be in a music hall. Keaton, however, isn't hindered by his vaudeville roots and can make a laugh-out-loud domestic comedy using vaudeville tricks without making it seem like a recreation of a vaudeville routine.