The Invader

Keaton had a nervous breakdown about two months before this British made movie had a release in a few theaters in the U. S. as "As Old Spanish Custom." Nobody even bothered to review it.

Keaton sparkles in the film's many gags, but the film, at least the 50 minute version on the Internet Archive and Youtube, does not have enough time to develop thematically.

Lupitar Tovar (Dracula - Spanish Version - 1931) gives a nice performance as the object of Buster's affection/desire.

Even at this low point in his life, Keaton still had all his acrobatic skills and continued to be a master of slap-stick gag construction. Definitely worth seeing for Keaton fans.

As a life long Buster Keaton fan, I was excited to see this little known sound feature made in England. It is down right horrible! Even Buster's "A Modern Bluebeard" is better. The plot is barely enough for a two reel comedy. In a remote Spanish village, a jealous husband threatens to kill the next man who flirts with his wife. Of course, that man turns out to be Buster. That's it. Now it takes an hour to tell that story! The production values are so low on this film, that it makes Buster's Educational two reelers look like "A" prestige movies. There is an inept musical number in the middle of this mess which goes on far too long and is definitely there just to pad out the slim pickings of the plot. Buster, as always, is terrific, but there is not enough to support him. This film was remade as a Columbia two reel comedy in 1939; it was called "Pest from the West". This is a wonderfully funny film because it is over in 16 minutes. The slow pacing, shoddy sets, and lackluster direction really kill off "The Invader". I only recommend it to Buster fans who have seen everything else.

Sound is sometimes mostly just a flavor, as Buster Keaton proves by making another splendid film defined chiefly by his reliable penchant for sight gags and physical comedy. Clearly neither Keaton nor the filmmaker were quite done with silent sensibilities, for dialogue could generally be substituted here with intertitles without missing anything. It should be said that 'The invader,' also known as 'An old Spanish custom,' perhaps lags at times, with less robust or consistent humor than the star at his best; simply put, not every bit lands. There's a reason the man's career tapered off after the advent of talkies. (Well, okay, multiple reasons.) Yet even if the result falls short of the utmost heights we assume of the actor, still I think overall this is rather enjoyable, and a fine diversion for a mere hour.

Yes, it's distinctly uneven, and light in content even by the standards of the era. For such faults, one can hardly miss the fact that the plot development, climax, and ending feel abrupt and even forced. The stunts that the star is known for are also less noteworthy here. But even for all that still the picture earns plenty of laughs, and the plot is suitably smart. Between Keaton's comedic timing and aloof, nervous disposition in-character, Adrian Brunel's practiced direction, and the writing, all the necessary ingredients are present for a duly entertaining farce. All those behind the scenes put in good work in terms of costumes, sets, and the like. For a Keaton vehicle to not totally land still means it's no worse off than being "average" by the standards of other contemporary fare, and indeed, there are a lot worse movies from the 1930s that one could spend time with.

This is hardly essential in the same way as 'Go west,' 'The general,' or any of Keaton's many other silent classics. This may not be especially memorable in the grand scheme of things, at least not by comparison. But the feature only wants to have fun, and despite any weaknesses, I believe it handily achieves that goal. Sure, there are other films that should claim priority for any viewer, but if you're looking for something light and frivolous, 'The invader' neatly fits the bill. Don't go out of your way for it, but this is quite nice for a quick view.

... as this is one of the few bad films Keaton ever did. After being fired from MGM at the height of the Great Depression, Keaton easily found roles in shorts such as those he did at Educational Pictures, but starring roles were hard to come by. Partly this was because of the Depression itself, partly it was because Keaton was still seen as a silent star, but some of the problem was with the fact that Keaton had a problem with alcohol that was almost suicidal during the early and mid 30's. When this film was made his illness was at its height.

The producer, Sam Spiegel, made some great films in the 1950's. In 1934, however, he was under-financed, inexperienced, and basically did not know what he was doing. There simply was not enough story to fill up a feature length film. Thus we have painfully prolonged scenes such as Lupita Tovar's dance scene at the club near the beginning of the film. Are there funny moments by Buster here? Sure there are, mainly because although Buster did not get writing credit, the story was his own. There's still not enough good material to make up for sitting through all of the padding. To see a recovered Keaton do his best material from this prolonged film in a more appropriate 20 minute short, see the Columbia short "Pest From the West". Both this film and that short are available on DVD.

The only reason why I'm giving this practically forgotten low-budget film 6 out of 10 stars is that it is historically very interesting and important for Keaton completists. It's a fairly artful example of BK and his drunk mid-30s worst work BUT he also clearly managed to get a lot of input into gags, and the basic premise - a version of Spite Marriage (wrong guy gets married to girl to make bad guy jealous) - reminds us of previous and better fleshed-out MGM era films.

Note that Keaton re-made (or had it remade) this film as a short at Columbia years later, a 16-minute distillation that services the admittedly thin plot better. Seeing the same gags in different context is often illustrative of how they were thought up. Here producer Sam Spiegel tries to cash in on Keaton's fame, and actually hired German DP Eugen Schüfftan, who had worked with Pabst, Wilder, Carne, and other very expressionistic directors earlier in his career. This low-budget film actually tries to look much better than it can ever hope to.

I recommend seeing this film on the recent Laughsmith's INDUSTRIAL STRENGTH KEATON DVD, which has a knowing commentary telling us the behind-the-scenes stories of the film.