You'll laugh yourself completely out of focus!
A photographer takes up newsreel shooting to impress a secretary.
A photographer takes up newsreel shooting to impress a secretary.
Der Kameramann, Han som drar veven, O Homem da Manivela, Le cameraman, Buster der Filmreporte, Il cameraman, A filmoperatör, O cameraman, Czlowiek z kamera
I didn't know Nightcrawler was a remake. Jesus, they got Keaton's character all wrong
Criterion Challenge 2021
9 - A Silent Film
Keaton's stoic demeanor and committed comedic timing, paired with outrageously clever and daring physical stunts, demonstrates a dedication to the spectacle of cinema. There is less depth of character in comparison to Chaplin's legendary Tramp, but Keaton immediately earns sympathy by emanating a profoundly pathetic demeanor, and then steadily earns respect for his determination and venerable decency. The film exudes a pure anarchistic glee throughout that slowly but surely builds upon itself until it finally explodes in an incredible scene involving a movie camera, Keaton, and the cutest little monkey amidst a full-fledged Chinese gang war that I have to imagine is one of the most ambitious gags ever attempted.
What a stressful week this has been!! (and it's only Tuesday)
Thank goodness, the world has Buster Keaton! 😍🥵 I could bask for hours under his intense gaze, forever fascinated with his iconic facial inexpressiveness and naturally muted responses to the exaggerated situations that is the plot of his movies. The Cameraman is light, fun, and an unexpected ode to the nature of filmmaking.
Excited to watch more of Keaton’s filmography!!
"You must always grind forward, never backward."
Often regarded as Buster Keaton's last great film, The Cameraman was the first of nine films Keaton made for MGM in what would soon become a troubled relationship. Keaton had spent the prior decade in an independent production partnership with Joseph Schenck and thus enjoyed uncurbed creative control. Under this arrangement Keaton made nearly all of the material on which his legendary reputation rests, but it came to an abrupt halt when Schenck joined United Artists following the commercial failure of Keaton's masterful Steamboat Bill, Jr. At the advice of Schenck, Keaton reluctantly signed with MGM at a lucrative rate and with provisional artistic independence. Following creative differences with honcho Irving Thalberg on…
This review may contain spoilers. I can handle the truth.
Potentially the greatest ending to any Buster Keaton film I have seen so far. Incidentally also one of the funniest camera-pull-back-reveal-gags; If you don't jump out of your seat full of joy once you see that monkey doing what he's doing, there is something wrong with you.
Other memorable gags include: changing-room shenanigans, stealing a woman's undergarment, glass shattering running gag and the funniest chinatown war you'll ever see.
Obviously HIGHLY RECOMMENDED!
“Keaton was beyond all praise... a very great artist, and one of the most brilliant men I ever saw on the screen. He was also a superb director. In the last analysis, nobody came near him. Keaton, one of the giants!”
— Orson Welles
As always, I’m in awe with this miracle of a human being. Criterion’s recent 4K restoration of The Cameraman or Buster with a Movie Camera is truly something to behold, ninety year-old, crisp images flowing flawlessly with its accompanying remastered score. Romance pulses from this one, and like all essential Keaton films it’s flat-out hilarious, the physical timing making it totally universal. Any language, any age, if you’ve never seen a Buster Keaton film now would…
This will make entry number four in a month-long NYC film fest with my boyfriend to combat our collective depression at not being able to enjoy our much-anticipated annual September trip to the Big Apple.
Buster Keaton endearingly attempts to impress the object of his amorous desires by way of indefatigable professional development in this rousing romantic comedy. Keaton trades in his “cocktail shaker” tintype camera and invests his entire worth in a functional if not antique motion picture camera to win the favor of an encouraging but highly-courted newsreel secretary, Sally (Marceline Day).
His crude technical and artistic skills rapidly bloom like earnest weeds, though his potential employer and fellow camera operators ridicule his avante-garde, kaleidoscopic representations of New…
The world is a dank, dark place - especially these days - but there will always be Buster Keaton who makes it just a bit brighter by simply having given us this kind of unadulterated joy.
It’s so nice to see Buster Keaton (top ten short kings of cinema) finally be added to the Criterion Channel. The Cameraman fits in perfectly to the collection, and the 4K restoration is incredible.
The well-publicized beginning of the end for Buster, but it's also a high point of his career even if he didn't have the creative freedom he was accustomed to in his earlier work. It's perfectly structured dramatically and it has more of a blatant emotional pull than he was usually too cool to shoot for without being ordered to, but the whole thing is like a Swiss watch (and even a little bit sexy) in a way that very few big studio productions then or now are able to pull off. It is good.
If you’re looking for perfection in comedic narrative, look no farther than a monkey machine-gunning down gangsters to save Buster Keaton’s clueless li’l butt.
“The Cameraman” - Keaton’s first (and I’m sure he would have preferred, last) film with MGM - is an apex of the visual language that he had come to create. It’s a language with reams spoken just through the hapless and unchanging look in Keaton’s own eyes, as the world falls apart around him.
And Keaton’s world was collapsing. Pressured by studio executives and changing trends, “Cameraman” is considered as the last film over which Keaton had creative control. The movie, about a street busker turned news photographer, has a tight cohesiveness fitting for a later work…
Buster’s adventures attempting to be a news cameraman to impress a girl at MGM are among his funniest. Especially when he got his monkey sidekick. Bittersweet knowing what Buster’s time at MGM turned out to be for him, The Cameraman is an enjoyable silent comedy.
THE CAMERAMAN is often cited as the film in which Buster Keaton no longer had story control. For inspired filmmakers, this could prove disastrous. Witness Stan Laurel and Oliver Hardy in their films made for 20th Century Fox as a case in point. While this also didn’t bode well for Buster Keaton in general, I find THE CAMERAMAN to be one of my favorites.
The movie is not the typical Keaton movie with amazing stunts and a never-ending cycle of sight gags. While these could create classics such as THE GENERAL, they also could generate characters whose sole reason for existence was to support the gag. In THE CAMERAMAN, Keaton may have found his greatest “love interest” in…
Watched as part of the Criterion Challenge 2021
Week 10. 1920s
Buster Keaton is his usual stony-faced self in this funny but somewhat muted (by his normal standards) film.
In his first film for MGM, a move he later recalled as the worst decision of his career, he still retained creative control, but the output here is less inspired but still a nice story with some really funny scenes. The film follows Keaton as a photographer who falls in love with a secretary who works for MGM Newsreels. Desperate to be around her he empties his bank account and buys a film camera so he can get a job with them as a cameraman.
I think the premise had tons…
A great, wonderful picture. One of Keaton's best.
(I'm gonna soapbox for a bit)
It's cool that Keaton and Lloyd are getting greater and greater reception as the years pass, but I've noticed a certain dissent in Chaplin's reception. Here's my two cents, I greatly prefer Chaplin, overall. Yes, Keaton had those death-defying stunts and Lloyd had those wonderful chase scenes, but Chaplin had true emotion in his films.
It's not that the others didn't, The Cameraman is a prime example, but Chaplin's films were always deeper than just 'boy meets girl.' They were about class and poverty, power and corruption, democracy and anti-capitalism.
Keaton and Lloyd are good, but they're rarely, if ever, interesting. Now, Chaplin, he's interesting. Lloyd could never make me cry. Keaton has the possibility to, but he hasn't yet. Chaplin can make me weep.
Buster Keaton is faster and more funnier than Forest Gump.
I was having fun watching this but I was like "why is this in the criterion collection" and then a monkey fires a machine gun
“This movie has everything: Buster Keaton riding on the side of a fire truck, a Chinatown gang war, amazing camerawork (duh), AND A FUCKING MONKEY!”
Watched on the Criterion Channel
damn, they really don’t trust your vision till it’s convenient for them. huh.
LOVE THE MONKEY
the monkey’s introduction is the hardest I’ve ever laughed at any silent film
not me simping over the changing room scene 🙊
Keaton finally starts to prioritize art over stunts and big set pieces again but unfortunately he waited until his penultimate silent film (and arguably the end of his career)
more unnecessary Hollywood yellow peril confirming my worst fears about him too
Drew 1,000 films
This is the January 2021 edition of the They Shoot Pictures, Don't They? list of the 1,000 greatest films.
mary🦋 523 films
It was hard but I put a stop at 99 minutes (constantly updated)
Hogfather 1,252 films
Movies that I want to watch online for free. Links are under notes. If a link is broken, please leave…
juliodogpit 1,001 films