The story goes that in the late 1910’s, Arbuckle was America’s second-most-popular comedian, bowing only to Charlie Chaplin. When Arbuckle met up with Buster Keaton, he recognized Keaton’s comedy strengths and debuted Keaton in his movies as an ever-reliable sidekick.
Yet based on the evidence shown here, Keaton in even secondary roles was someone to keep an eye on, while Arbuckle’s appeal has assuredly diminished over the years. Unlike Chaplin or the solo Keaton, Arbuckle has little of a persona to fall back on. One can imagine how Chaplin’s Little Tramp or Keaton’s Stone Face would react in a given situation. But Arbuckle seems to change his stripes whenever any gag, in or out of character, presents itself. About the only persona that emerges for Fatty is that he’s…well, fat.
And the plotlines, concocted mostly by Arbuckle, are just as arbitrary as his character. The short The Bellboy (1918) begins in a hotel and segues strangely to a bank that’s being robbed. The Butcher Boy (1917, and Keaton’s film debut) begins in a grocery store and switches to a girls’ boarding school.
But unlike Arbuckle, who all but winks at the audience in an attempt to win their love, Keaton plays straight no matter the situation and scores points all around. Out West (1918) presents Keaton as a barroom gunslinger, and just by force of personality, he makes you believe it. And heaven knows, nobody could take a fall or elaborate a simple gag better than Buster.
Arbuckle’s hoary stories are not helped by racist humor (in Out West, barroom bullies shoot at the feet of a frightened black man, and Arbuckle goes right along with the bullies) and by musical accompaniment (by “The Alloy Orchestra,” according to liner notes) that rates as Kino’s worst.
Anyone with an interest in Buster Keaton’s humble film origins might want to give this a look. Silent-film buffs might be drawn in initially but will most likely lose interest about halfway through.