The Saphead

The Saphead" does not showcase Keaton the filmmaker, but rather Keaton the actor. The script is from a play, the directors are individuals Keaton never worked with before or hence, and the studio was Metro, predecessor of MGM. Keaton plays Bertie the Lamb, mild-mannered and spoiled son of Nick Van Alstyne, "the Wolf of Wall Street". In spite of the fact that Keaton had no creative input to the film and isn't actually its centerpiece, there is much to like about this film and much that is so Keatonesque. Keaton plays an old-fashioned romantic and someone that is thrust into the role of the fall guy by the actual bad guy - a theme he repeats in his own features. He also has down pat the part of being the well-dressed dapper man of the 1920's, which he repeats with more comic effect in "The Battling Butler", where he did have creative control.

The problem with this film is that it not a slapstick comedy and was never intended to be one, so if you are going to watch it forget about Buster Keaton, the comedian and look at Buster Keaton, the actor. Keaton is a revelation in this film, his performance is restrained and excellent proving that he was an actor as well as a comedian, a fact that makes his middle years even more sadder, truly a talent wasted by the studio system of the 30's. I'd like to add that Keaton had no problems adjusting to talkies, as commonly assumed, he had a fine speaking voice and could deliver a comic line perfectly, the problem lay with him losing control of his productions and being given poor quality material to work with, he never lost his talent as widely believed. All the performances in this little gem of a movie are first class especially Irving Cummings and William H Crane as well as Keaton's. This is a nice way to spend an hour, but, the final twenty minutes are the best as it is plain to see Keaton's contribution in the scenes in the Stock Exchange as Bertie runs around manically saying "I take it", but, not really knowing why. For many people, their only experience of silent movies is slapstick comedy, so I would say broaden your horizons and start with this one.

Something like The Saphead isn't what you would expect to be Buster Keaton's feature film debut. The whole thing seems too ordinary, too stagey and melodramatic to be so. This is due to the fact that The Saphead was not a Keaton-helmed project; he was suggested for the role of the rich young man Bertie by Douglas Fairbanks, who had previously played the role on Broadway.

Bertie is the first of the spoiled, clueless young man types that Keaton would later return to in The Navigator and Battling Butler. He seeks to impress a sweet young woman named Agnes by coming across as a bad boy, gambling well into the morning hours and having breakfast in the afternoon. His father confronts him about this behavior and has him cut off until he can find a job. Bertie seeks out to do just that, in the meantime winning the hand of his girl-- well, almost. During the ceremony, his sister's slimy husband Mark receives letters from his recently deceased mistress Henrietta, asking him to take care of their illegitimate child. His secret about to be revealed, he presses the letters on Bertie, breaking Agnes' heart and bringing the union to an abrupt end. Fortunately, things manage to pick back up after Bertie unwittingly saves the family stock business.

While there are a few Keaton-esque moments every now and then, for the most part The Saphead is just a typical stage to film adaptation of the period. Unlike the films Keaton would later star in and direct, this picture lacks spontaneity and laughs. The action on screen never comes alive until the climax, when Keaton finally gets to jump and be thrown around as he dashes through the trading floor and saves the day. The entire movie isn't a bore, however, and there are a few humorous inter-titles and gags, but it's just doesn't have a story that seems to suit the particular talents of its main star.

"Saphead" is an awful romantic melodrama. Basically Keaton is just doing straight acting (the movie's based on a stage play). There is little comedy here.

But the 2 shorts included on the DVD -- "The High Sign" and "One Week" --are outstanding. They rate 8 and 9 scores, respectively. "One Week" anticipates many of Keaton's later gags and stunts, showing the kind of imagination and skill that made his films the funniest of the silent era (sorry, Charlie).

If there is any humor in this movie, it is carefully concealed. Buster Keaton gives an energetic performance in what is otherwise a dubious attempt at self-effacing humor. Now, under certain circumstances self- effacing humor can be effective but not in this movie. The story is contrived, and Mr. Keaton's character is so shallow that one must wonder why anyone would pay him any attention at all. Irving Cummings and William Crane carry this movie. They give strong dramatic performances. Mr. Keaton's attempt at humor through deadpan is out of place in this movie. It simply is not funny. It does not generate laughs. Nor is his character particularly lovable. His character, Bertie, is spoiled and shallow. His love interest with the female lead is strained and entirely implausible. The plot is predictable. The movie does have some effective moments, such as when the Crane and Cummings characters confront each other and the frantic scenes of trading on the floor of the stock market, but otherwise the movie's value lies mostly in the its status as a quaint antique of movie making from a bygone era.