Reviews (71)

Lon Chaney stars in the first great American horror film
It is a shame that in the popular imagination the classic 1925 silent version of "The Phantom of the Opera" has been reduced to the scene where Christine (Mary Philbin) unmasks the Phantom and reveals Lon Chaney's stunning make-up job. Because there is much more to this film than that sequence and the camera being out of focus as the Phantom moves towards Christine really bugs me. The visuals in this film are stunning, from the cavernous world below the Paris Opera house to the Phantom's entrance as the Red Death during the Masqurade Ball (filmed in Technicolor). For me the most memorable moment and Chaney's best scene comes at the end, when the Phantom is able to hold the mob that has hunted him down at bay because of the threat of what he holds in his hand. Then he starts to laugh at the fools, finally opening his hand to show it is empty and giving himself over to the violence of the mob. The scene is not in Gaston Leroux's 1910 novel, which relates how the bones of Erik were found years after the events told in this story, but it is a worthy addition to the tale. In regards to the famous unmasking scene, I do want to add that Rupert Julian's staging of the scene is really as impressive as the make-up, because the audience gets to see the face of the Phantom before Christine is presented with that horrible visage. I have always thought that Chaney's performance was so indelible that it was the reason that the Claude Reins and Herbert Lom remakes concocted an entirely new story, although it does make sense that when you add sound to the Phantom that you would take full advantage of the opera setting. Final note: When I got to see Michael Crawford perform as the Phantom in the Lloyd-Webber musical, I was not surprised that his outfit as the Red Death was clearly modeled on what Chaney wore in this film.

Very Good Restoration
The IMAGE entertainment restoration of the 1929 "Phantom of the Opera" starring Lon Chaney is a bit hit. The two-disk set is definately the definitive choice to own by all serious collectors. The clarity is better than any version I've seen to date, and for the first time, the correct running speed has been instituted here. The tradeoff however, is that the motion is somewhat choppy from too few frames. The characters move in proper real-time, and for the first time, you can see naturalistic movement in such scenes as the opening ballet sequence.

True fans need look no further than this two-disk Masterpiece Collection set from IMAGE. This is definately the one to own! The film is tinted and comes in a selection of three seperate sound tracks to choose from: a terrific new orchestrated score, the original sound score from the 30s, and a voice-over commentary track, which is insightful.

The second disk contains the original 1925 film, which few people have ever seen today. The quality is poor, but there are many scenes that are different from the version that we're all familiar with. It's worth watching.

But you cannot beat the restoration of the 1929 version on disk one of this set. It isn't quite the job that KINO put into Fritz Lang's "Metropolis" last year, but is terrific nonetheless. Thank you IMAGE. Great DVD!

One of the best
This is a beautiful (an absolutely beautiful) movie, one of the best I've ever seen. Lon Chaney, Sr. does a wonderfully dramatic performance as the tortured Phantom, who kidnapps an opera singer because he loves her. Unfortunately, she doesn't return the love, which drives him to madness.
The only thing that I disliked in the film was that Christine acts a little weird most of the time.
The dialogue is superb, and the Masked Ball scene is only one of the most memorable scenes in this movie

1925 Better than 1929
I am greatly disappointed with the 1929 version of the film. I thought it was going to be better than the silent one because it had sound, but I was wrong. The 1925 version is better than the restored one. Even though the restored version has sound, it takes the orginal and rearranges everything. They took the beginning of the 1925 and put it after Christine sings in the 1929 version. The person who plays Carlotta in the 1925 version is now Carlotta's mother and the Carlotta is different. The four stars is given to the silent 1925, the restored one is given 1 star.

Milestone version is the best!
Over the years, I have just about bought every version of the silent PHANTOM OF THE OPERA. In my opinion, the Milestone version is THE BEST. The elements have been cleaned up and the image is crisp, clear with good contrast for 90% of the film. This two disc set has both the 1929 and hybrid 1925 original. Actually the film is cleaner and better looking in this version than a lot of the official Universal thirties classic that have come out.
It has an excellent commentary by Scott MacQueen and a real treat is hearing the music originally composed for the sound version accompanying the action from original sound elements.
The Technicolor sequences are the nicest I have seen and through proper use of the colorization process, other scenes originally in color, are presented and match the actual color stuff very well.
This version has been made from the initial Photoplay restoration which also includes Carl Davis' original stereo score for those that must have modern stereo for their films, however, I prefer the mood and music of the original '30 soundtrack. There are a plethora of extras, and I don't think it is false hype to say this is the ULTIMATE EDITION of this classic film.
That's my two cents..... ... Read more

Reviews (22)

Influential and powerful, and still compelling.
The most powerful of all the Warners gangster films, 'Public Enemy' is still gripping viewing today. It may be an obvious point, but it can't be stated enough how so much of the film's force comes from being made in the actual era it depicts (NB Prohibition lasted until 1933) with all the conviction and urgency that brings. The film is an acknowledged influence on 'Goodfellas' in that the story is told 'straight' with no moral bromide being forced through the criminal charcters' mouths - they lead their lives without time or need for apology or introspection. What moral conclusion there is to be drawn is all too implicit in the resolution of their story. 'Goodfellas' though depicting historical events, drew on a uniquely candid first hand account, as well as the director's own experiences, which gives the film a similar 'truth' to 'Public Enemy'. Scorcese also picked up on William Wellman's use of source, rather than soundtrack music ('I'm For Ever Blowing Bubbles'), as seen to virtuoso effect in 'Raging Bull'. As for Cagney himself, well, let's just say it was the performance that made him a star. That's all that need be said. The famous ending is still one of the most shocking in all cinema.

The greatest of the great
Paul Muni in Scarface; Edward G. Robinson in Little Caesar - these are now interesting but dated performances in interesting but dated movies. Almost seventy years later, Cagney's performance is truly fresh, as is the movie. Public Enemy is the one unmissable gangster movie from the early thirties: its violence is always suggested rather than stated (always more effective); most of the acting seems strikingly contemporary (Sara Algood is of another age, but Jean Harlow could saunter onto a contemporary screen and not seem in any way anachronistic); and there is no mood music: what music there is on the soundtrack can be explained by way of live bands or the presence of a radio. This fact contributes to one of the most chilling endings of any American movie I've ever seen. Above all, there is Cagney! What a great actor! Today there is Russell Crowe: even in the old days, only Spencer Tracy came close to this kind of ease and naturalness. Enough! About James Cagney I have said - and can say - nothing. Rent it, and see for yourself!

cagney unleashed on world
the most explosive debut in movie history was made by james cagney. little caesar was a better movie, but cagney epitomizes the depression era movie mobster in this movie. jean harlow gives the worst performance of her career in this movie, which is naturally something of a mystery. a year later she was great in red-headed woman, red dust and later bombshell. wellman was a great director but surely not with harlow. this is best known movie of mae clarke because if features the famed scene where cagney shoves a grapefruit in her kisser. this is totally unjust because clarke was a wonderful actress, especially in waterloo bridge. anyway, she is in only two brief scenes. the only good performance besides cageny is that of leslie fenton as nails nathan. despite public enemy's shortcomings it's one of the movies you have to see.

Just one historical note...
James Cagney has always been my great favorite and this seminal performance is nonpareil. I did want to add one thing to the excellent reviews already here: Edward Woods had originally been cast in the role of Tom Powers (I believe he was engaged to a studio honcho), but Cagney was so overwhelming in the secondary role, he was recast after only a couple of days. It's interesting to note that the children who played the characters as youngsters were clearly cast with the roles reversed.

An Unforgettable Final Scene
There is very little waste in PUBLIC ENEMY and it is easy to see why this film caused such a sensation in 1931. The movie is about the steady rise of a professional criminal (James Cagney) from before World War I through the early years of Prohibition. The acting by Cagney, Joan Blondell and Mae Clarke is excellent. The strong supporting cast includes Beryl Mercer, Edward Woods and Jean Harlow.

PUBLIC ENEMY received an Oscar nomination for Best Original Story (John Bright and Kubec Glasmon). The film has certainly stood the test of time and the final scene has remained unforgettable. William Wellman also directed BEAU GESTE, WINGS and THE STORY OF G.I. JOE. ... Read more

Amazon.com

The reputation of Buster Keaton's Seven Chances rests almost solely on its outrageous finale, a brilliant cascade of comic invention that begins with a church full of blushing brides and builds to a surreal chase of epic proportions. The hapless groom is pursued by a angry mob of women clad in white lace and veils and ends up dodging rolling stones and massive boulders while fleeing an avalanche, never once losing his trademark deadpan. Buster plays a struggling lawyer who will inherit a fortune if he marries by 7 p.m. of his 27th birthday--the very day he receives notice ofthe potential windfall. When his longtime sweetheart turns him down, he frantically searches for someone--anyone--to wed. While Seven Chances doesn't have the sustained inspiration of his best films, Keaton fills the picture with inventive moments and clever ideas, notably a sustained series of desperate proposals (the "seven chances" of the title) that lead to the climactic swarm of aggressive brides. The biggest weakness is an embarrassing blackface performance that has only become more offensive with the years. Jean Arthur briefly appears as a switchboard operator. The film was remade in 1999 as The Bachelor with Chris O'Donnell. The DVD also features two short films: "Neighbors," the story of young lovers who flirt across the fence that separates their houses and their bickering families, and "The Balloonatic," which despite the presence of a hot air balloon is actually a gag-filled camping comedy. --Sean Axmaker ... Read more

Description

Chaney is Erik, the horribly disfigured Phantom who leads a menacing existence in the catacombs and dungeons beneath the Paris Opera.When Erik falls in love with a beautiful prima donna, he kidnaps her and holds her hostage in his lair. ... Read more

Reviews (71)

Lon Chaney stars in the first great American horror film
It is a shame that in the popular imagination the classic 1925 silent version of "The Phantom of the Opera" has been reduced to the scene where Christine (Mary Philbin) unmasks the Phantom and reveals Lon Chaney's stunning make-up job. Because there is much more to this film than that sequence and the camera being out of focus as the Phantom moves towards Christine really bugs me. The visuals in this film are stunning, from the cavernous world below the Paris Opera house to the Phantom's entrance as the Red Death during the Masqurade Ball (filmed in Technicolor). For me the most memorable moment and Chaney's best scene comes at the end, when the Phantom is able to hold the mob that has hunted him down at bay because of the threat of what he holds in his hand. Then he starts to laugh at the fools, finally opening his hand to show it is empty and giving himself over to the violence of the mob. The scene is not in Gaston Leroux's 1910 novel, which relates how the bones of Erik were found years after the events told in this story, but it is a worthy addition to the tale. In regards to the famous unmasking scene, I do want to add that Rupert Julian's staging of the scene is really as impressive as the make-up, because the audience gets to see the face of the Phantom before Christine is presented with that horrible visage. I have always thought that Chaney's performance was so indelible that it was the reason that the Claude Reins and Herbert Lom remakes concocted an entirely new story, although it does make sense that when you add sound to the Phantom that you would take full advantage of the opera setting. Final note: When I got to see Michael Crawford perform as the Phantom in the Lloyd-Webber musical, I was not surprised that his outfit as the Red Death was clearly modeled on what Chaney wore in this film.

Very Good Restoration
The IMAGE entertainment restoration of the 1929 "Phantom of the Opera" starring Lon Chaney is a bit hit. The two-disk set is definately the definitive choice to own by all serious collectors. The clarity is better than any version I've seen to date, and for the first time, the correct running speed has been instituted here. The tradeoff however, is that the motion is somewhat choppy from too few frames. The characters move in proper real-time, and for the first time, you can see naturalistic movement in such scenes as the opening ballet sequence.

True fans need look no further than this two-disk Masterpiece Collection set from IMAGE. This is definately the one to own! The film is tinted and comes in a selection of three seperate sound tracks to choose from: a terrific new orchestrated score, the original sound score from the 30s, and a voice-over commentary track, which is insightful.

The second disk contains the original 1925 film, which few people have ever seen today. The quality is poor, but there are many scenes that are different from the version that we're all familiar with. It's worth watching.

But you cannot beat the restoration of the 1929 version on disk one of this set. It isn't quite the job that KINO put into Fritz Lang's "Metropolis" last year, but is terrific nonetheless. Thank you IMAGE. Great DVD!

One of the best
This is a beautiful (an absolutely beautiful) movie, one of the best I've ever seen. Lon Chaney, Sr. does a wonderfully dramatic performance as the tortured Phantom, who kidnapps an opera singer because he loves her. Unfortunately, she doesn't return the love, which drives him to madness.
The only thing that I disliked in the film was that Christine acts a little weird most of the time.
The dialogue is superb, and the Masked Ball scene is only one of the most memorable scenes in this movie

1925 Better than 1929
I am greatly disappointed with the 1929 version of the film. I thought it was going to be better than the silent one because it had sound, but I was wrong. The 1925 version is better than the restored one. Even though the restored version has sound, it takes the orginal and rearranges everything. They took the beginning of the 1925 and put it after Christine sings in the 1929 version. The person who plays Carlotta in the 1925 version is now Carlotta's mother and the Carlotta is different. The four stars is given to the silent 1925, the restored one is given 1 star.

Milestone version is the best!
Over the years, I have just about bought every version of the silent PHANTOM OF THE OPERA. In my opinion, the Milestone version is THE BEST. The elements have been cleaned up and the image is crisp, clear with good contrast for 90% of the film. This two disc set has both the 1929 and hybrid 1925 original. Actually the film is cleaner and better looking in this version than a lot of the official Universal thirties classic that have come out.
It has an excellent commentary by Scott MacQueen and a real treat is hearing the music originally composed for the sound version accompanying the action from original sound elements.
The Technicolor sequences are the nicest I have seen and through proper use of the colorization process, other scenes originally in color, are presented and match the actual color stuff very well.
This version has been made from the initial Photoplay restoration which also includes Carl Davis' original stereo score for those that must have modern stereo for their films, however, I prefer the mood and music of the original '30 soundtrack. There are a plethora of extras, and I don't think it is false hype to say this is the ULTIMATE EDITION of this classic film.
That's my two cents..... ... Read more

Amazon.com

Ronald, the klutzy high-school brain played by Buster Keaton in College, is an inspired variation on the insulated millionaire playboys of earlier films. This bookish mama's boy who couldn't throw a fit, let alone a football, vows to become a college athlete to win the heart of the campus sweetheart. Of course in this path lies disaster, and his follies in track and field (the flyweight tries to throw the hammer and winds up flinging himself) only increase when he's made coxswain of the rowing team. Keaton's mix of energetic earnestness and flailing incompetence make his athletic tryout the film highlight, but in classic Keaton fashion Mr. Two Left Feet becomes the world's greatest athlete to save his sweetie from a bullying muscle-bound brute, mastering every event he so hilariously botched earlier in a decathlon dash to the rescue. This episodic comedy is more like his early shorts than his best features, lacking the narrative backbone that supports such masterpieces as The General and Steamboat Bill, Jr., but it's full of inspired physical comedy and Keaton's unique brand of gymnastic genius. Also featured are three short films: The Haunted House, with bank teller Buster matching wits against robbers in a gadget-filled hideout; the recently rediscovered Hard Luck, which recounts Buster's unsuccessful efforts to end it all (the missing conclusion is reconstructed from stills); and The Blacksmith, where Buster disastrously attempts to apply assembly line efficiency to a village smithy. --Sean Axmaker ... Read more

Reviews (6)

Not Keaton's Best, But Well Worth Seeing
"College", which Keaton made immediately after his classic "The General", was based on a novel whose rights had been purchased for Keaton by his business partner (and brother-in-law). Keaton didn't like the material, but he gave it the "college try". The result is a film that is not among Keaton's best, has many delightful gags. One stunt still defies belief: Keaton, who's working as a waitor, is tripped while carrying a full cup of coffee; he does a full 360-degree flip, but somehow manages not to spill a drop!

There's more to this movie than gags, though. The final 30 seconds give full vent to Keaton's deep pessimism about the human condition. It is perhaps the blackest sequence in all of cinema; certainly, after such a light comedy, it comes like punch in the stomach.

Kino does its usual fine job with the video transfer and extras. This disk is a must-have for any fan of silent comedy.

To Boldly Go Where Harold Lloyd Had Gone Before
COLLEGE came during the same period in Buster Keaton's career as did his most famous feature, THE GENERAL. Yet the difference couldn't be more startling. While THE GENERAL reveled in thrills, spills, chases, daring rescues, and fun sight gags, COLLEGE is more a random collection of physical comedy jokes that achieve varying degrees of success. Yes, there's some funny material, but I can't say that this film matches up with Keaton at his best.

The basic story is that Keaton is a High School graduate (yeah, everyone looks about twice as old as the characters they're playing) who ridicules athletics during his valedictorian speech. But desperate to win back the heart of his shallow girlfriend, he must excel at some sporting event. He goes with her to college (along with the aged High School athlete) determined to prove his worth.

I know we're expected to take it as given that Keaton is in love with his sweetheart. Yet, was there anyone in the audience who didn't want to tell him to run a mile when she came up with her "learn sports or else!" ultimatum? The gags involving Keaton's unsuccessful attempts to participate in baseball, track and field, etc are occasionally fun, but are usually quite predictable. I laughed a few times during the film, which had more to do with the fact that Keaton's body language could make almost anything funny, not that the script had come up with anything particularly strong.

Since the main feature only runs for a few minutes over an hour, there are also three short films to pad out the DVD. First up is THE ELECTRIC HOUSE where Keaton is mistaken for an electrical engineer. And like all electrical engineers of the 1920s, he is offered a job installing complicated devices in the house of a rich, fat guy. You know the sort of thing on offer here: escalators in the house, a pool table that racks itself, an automatic food server. Naturally, all of these futuristic devices are just itching to break down in a spectacular and painful manner. This short may feel a little formulaic (we see a gadget, we see it break down, we see another gadget, we see it break down, repeat and lather), but it's quite entertaining. The modern contraptions are inventive and clever.

The second short is HARD LUCK, which may hold the distinction of being the most bizarre short film I've ever seen. Keaton attempts suicide multiple times, begins a hunt for armadillos, gets involved in a Western-style shoot-out, and finally falls through the center of the Earth. I told you it was strange. The version on here is a reconstruction of the best surviving footage, and it's a pity that the film isn't complete, because I thought it was fantastic. A few of the gags seem a bit odd, but I'm willing to put that down to the missing footage (a disclaimer warns the viewer of this at the beginning). The film moves at such a frantic rate that it's impossible to guess where it's going to go next.

The third and final short film on the disc is THE BLACKSMITH, which features Keaton working as a blacksmith's lackey, destroying cars under the guise of fixing them. Following the pattern that Keaton often used, he manages to slowly wreck several expensive items, finally earning the wrath of the secondary characters. This isn't the funniest Keaton short, but it has a handful of hilarious set pieces.

This DVD release will probably be most appealing to Keaton enthusiasts. Casual fans may want to look elsewhere, as the main feature here is comparatively weak. On the other hand, it is great to have the three short films, since they are of much higher quality and help to redress the balance. As a whole, this probably isn't a great purchase, but it isn't a bad one either.

Study on Courtship.
Though COLLEGE isn't as strong a film as THE GENERAL, the movie is a great entertaining piece of cinema. In this film, Keaton plays a bookworm with a negative attitude towards athletics. However, when the girl he loves goes steady with the high school jock and leaves for college, Keaton's character follows. What ensues is total physical mayhem as he fails at one sporting event after another until he finally finds himself on the rowing team as the coxswain. Will this let him get the girl or will the brute with brawn and no brains beat him to the punch?

There is one particular scene in COLLEGE that is quite outdated (and which some will find offensive) where Keaton's character is dressed in black paint. Be forewarned and take it for what it is.

And on DVD!!
Have you mastered the art of getting the girl?
You haven't unless you've seen how Buster does it, and he does it with style!

Ignore the above!
The above review does not apply to this DVD, which is an excellent transfer of the best available materials. I give it four rather that five stars only because it is the least impressive of Keaton's self-directed pictures--which is not to say it's a bad movie. ... Read more

Reviews (11)

Probably the best silent fantasy picture made in the U.S.
At the time of its release, Thief of Bagdad, was the most expensive and most elaborate film created. It involved enormous sets and special effects which would be rivaled for years. The story has it all: action, adventure, love, and friendship. And it tells it all on a grand scale which can still be impressive 70+ years later.

Douglas Fairbanks, Sr., plays the Thief in an extremely sensual (though, not overtly sexual) way. He is very physically agile and innovative as he meanders through the streets of Bagdad using his wits to take what he wants with a minimum of effort.

The set designs for the film were done by William Cameron Menzies (sp?) and appear almost as pen and ink drawings in the black and white film. They make you feel as if you have entered a story book telling you of the Thief and his love for the Princess.

This DVD version has a nice organ accompaniment. It would be nicer to have the version which was released on LD with a full symphony performing Rimsky-Korsokov's Arabian Nights music. The music, tinting and introduction by Fairbanks' son made that the *definitive* version of the film for me.

Thief of Bagdad (Deluxe Edition) from Kino
Douglas Fairbanks' "The Thief of Bagdad" is in the public domain, so it's no surprise that there are many DVD and VHS versions of this film available, from bargain basement tapes with no music taken from battered source prints, to high-quality editions with fine music and extras. (Many of the reviews given here are for different editions, so if they complain about the video transfer, missing scenes, or the musical score, keep in mind that such comments don't apply to all editions.)

The Kino "Deluxe Edition" is digitally mastered from a 35mm archive negative, with 19 minutes of rare outtakes and special effects footage as extras. The film is tinted throughout -- a color effect that was used on its initial release, and which adds greatly to the fantastic nature of the story and its immense sets.

The new score by the Mont Alto Motion Picture Orchestra (a quintet that specializes in reviving music used during the silent film era) is based loosely on the original "cue sheet" for the film by James Bradford. This means that you'll be hearing some of the music recommended for the film on its first release (although the music would have been different in each theater--silent film music was left up to the music director at each movie house). The music features many "oriental" pieces written for the silent film theater by forgotten "photoplay music" composers such as Gaston Borch and Irenee Berge, as well as pieces by classical composers like Rimsky-Korsakov who explored oriental themes. A written commentary and cue list of the music used is on the DVD as an extra, and can also be found at Mont Alto's web site, www.mont-alto.com.

A different high-quality edition from Image Entertainment features an organ score by Gaylord Carter, who was a talented theater organist, and that's also a good choice. Be wary of other editions -- it's an amazing film, and the extra money spent for a quality visual and audio treat is well worth it. The difference in run-time between the Kino and Image editions of the film is mostly explained by a different film transfer rate.

ANOTHER GREAT FAIRBANKS CLASSIC
first, hats off to Kino for releasing all these great, old Daouglas Fairbanks Sr. Classics on DVD. They have done a fantastic job and the Thief of Baghdad shows agains why Fairbanks was the master of the Swashbuckler.As the thief of Baghdad, his movements are dance-like -- nothing like the athletics he performed in most of his other films. In this Arabian take, the thief ignores the holy teachings and sneaks into the palace of the Caliph (Brandon Hurst). All thoughts of robbery slip away, however, when he sees the beautiful princess (Julianne Johnston). Princes have come from many faraway lands to win the princess' hand (and it's amusing to watch her face growing ever more alarmed at their arrival, because each one is uglier than the last). The thief disguises himself as a prince and the princess falls in love with him. After having a pang of conscience the thief confesses all to the Holy Man (Charles Belcher), who sends him to find a magic chest. He braves many obstacles to get it, and when he returns he discovers that the Mongol Prince (So-Jin) has taken over the city. Using the chest, the reformed thief creates armies of men out of nothingness and recaptures the city. He then uses the cloak of invisibility to spirit the princess away on a magic carpet. Fairbanks stole some of the special effects for his film from Fritz Lang's Der Mude Tod, which he had purchased for American distribution.

Thief of Baghdad, with its look of unrealistic beauty (courtesy of art director William Cameron Menzies), was not fully appreciated in its day. Because of its huge cost ($2 million -- a real fortune in those days), it made little money.

A true Silent Classic!

It's Cut?
Some one here says this DVD has a cut down version of the film. I was going to say, if you have never seen it, it's one of the Classics of the Silent era and Fairbanks. One thing I might add that will completly change the way you percieve this film... Think Gene Kelly. Don't think about Fairbanks as an Actor, think about him as a Dancer and suddenly this film becomes a whole other kind of experiance. I'd hate to see any footage missing from this Master Work of one of the Silent Eras greatest stars. If this version is indeed cut down, go look for the complete version, and one that isn't running at Sound Speed too.

Not bad for an older movie
I am not going to give a long lecture cause if you haven't seen it yet well then you don't know what your missing. ... It is very well paced not lagging to much, like some movies do. With a great story line and filled with action, good characters and the fight for good verses evil this movie is a must see. ... Read more

Reviews (11)

Probably the best silent fantasy picture made in the U.S.
At the time of its release, Thief of Bagdad, was the most expensive and most elaborate film created. It involved enormous sets and special effects which would be rivaled for years. The story has it all: action, adventure, love, and friendship. And it tells it all on a grand scale which can still be impressive 70+ years later.

Douglas Fairbanks, Sr., plays the Thief in an extremely sensual (though, not overtly sexual) way. He is very physically agile and innovative as he meanders through the streets of Bagdad using his wits to take what he wants with a minimum of effort.

The set designs for the film were done by William Cameron Menzies (sp?) and appear almost as pen and ink drawings in the black and white film. They make you feel as if you have entered a story book telling you of the Thief and his love for the Princess.

This DVD version has a nice organ accompaniment. It would be nicer to have the version which was released on LD with a full symphony performing Rimsky-Korsokov's Arabian Nights music. The music, tinting and introduction by Fairbanks' son made that the *definitive* version of the film for me.

Thief of Bagdad (Deluxe Edition) from Kino
Douglas Fairbanks' "The Thief of Bagdad" is in the public domain, so it's no surprise that there are many DVD and VHS versions of this film available, from bargain basement tapes with no music taken from battered source prints, to high-quality editions with fine music and extras. (Many of the reviews given here are for different editions, so if they complain about the video transfer, missing scenes, or the musical score, keep in mind that such comments don't apply to all editions.)

The Kino "Deluxe Edition" is digitally mastered from a 35mm archive negative, with 19 minutes of rare outtakes and special effects footage as extras. The film is tinted throughout -- a color effect that was used on its initial release, and which adds greatly to the fantastic nature of the story and its immense sets.

The new score by the Mont Alto Motion Picture Orchestra (a quintet that specializes in reviving music used during the silent film era) is based loosely on the original "cue sheet" for the film by James Bradford. This means that you'll be hearing some of the music recommended for the film on its first release (although the music would have been different in each theater--silent film music was left up to the music director at each movie house). The music features many "oriental" pieces written for the silent film theater by forgotten "photoplay music" composers such as Gaston Borch and Irenee Berge, as well as pieces by classical composers like Rimsky-Korsakov who explored oriental themes. A written commentary and cue list of the music used is on the DVD as an extra, and can also be found at Mont Alto's web site, www.mont-alto.com.

A different high-quality edition from Image Entertainment features an organ score by Gaylord Carter, who was a talented theater organist, and that's also a good choice. Be wary of other editions -- it's an amazing film, and the extra money spent for a quality visual and audio treat is well worth it. The difference in run-time between the Kino and Image editions of the film is mostly explained by a different film transfer rate.

ANOTHER GREAT FAIRBANKS CLASSIC
first, hats off to Kino for releasing all these great, old Daouglas Fairbanks Sr. Classics on DVD. They have done a fantastic job and the Thief of Baghdad shows agains why Fairbanks was the master of the Swashbuckler.As the thief of Baghdad, his movements are dance-like -- nothing like the athletics he performed in most of his other films. In this Arabian take, the thief ignores the holy teachings and sneaks into the palace of the Caliph (Brandon Hurst). All thoughts of robbery slip away, however, when he sees the beautiful princess (Julianne Johnston). Princes have come from many faraway lands to win the princess' hand (and it's amusing to watch her face growing ever more alarmed at their arrival, because each one is uglier than the last). The thief disguises himself as a prince and the princess falls in love with him. After having a pang of conscience the thief confesses all to the Holy Man (Charles Belcher), who sends him to find a magic chest. He braves many obstacles to get it, and when he returns he discovers that the Mongol Prince (So-Jin) has taken over the city. Using the chest, the reformed thief creates armies of men out of nothingness and recaptures the city. He then uses the cloak of invisibility to spirit the princess away on a magic carpet. Fairbanks stole some of the special effects for his film from Fritz Lang's Der Mude Tod, which he had purchased for American distribution.

Thief of Baghdad, with its look of unrealistic beauty (courtesy of art director William Cameron Menzies), was not fully appreciated in its day. Because of its huge cost ($2 million -- a real fortune in those days), it made little money.

A true Silent Classic!

It's Cut?
Some one here says this DVD has a cut down version of the film. I was going to say, if you have never seen it, it's one of the Classics of the Silent era and Fairbanks. One thing I might add that will completly change the way you percieve this film... Think Gene Kelly. Don't think about Fairbanks as an Actor, think about him as a Dancer and suddenly this film becomes a whole other kind of experiance. I'd hate to see any footage missing from this Master Work of one of the Silent Eras greatest stars. If this version is indeed cut down, go look for the complete version, and one that isn't running at Sound Speed too.

Not bad for an older movie
I am not going to give a long lecture cause if you haven't seen it yet well then you don't know what your missing. ... It is very well paced not lagging to much, like some movies do. With a great story line and filled with action, good characters and the fight for good verses evil this movie is a must see. ... Read more

Reviews (11)

Probably the best silent fantasy picture made in the U.S.
At the time of its release, Thief of Bagdad, was the most expensive and most elaborate film created. It involved enormous sets and special effects which would be rivaled for years. The story has it all: action, adventure, love, and friendship. And it tells it all on a grand scale which can still be impressive 70+ years later.

Douglas Fairbanks, Sr., plays the Thief in an extremely sensual (though, not overtly sexual) way. He is very physically agile and innovative as he meanders through the streets of Bagdad using his wits to take what he wants with a minimum of effort.

The set designs for the film were done by William Cameron Menzies (sp?) and appear almost as pen and ink drawings in the black and white film. They make you feel as if you have entered a story book telling you of the Thief and his love for the Princess.

This DVD version has a nice organ accompaniment. It would be nicer to have the version which was released on LD with a full symphony performing Rimsky-Korsokov's Arabian Nights music. The music, tinting and introduction by Fairbanks' son made that the *definitive* version of the film for me.

Thief of Bagdad (Deluxe Edition) from Kino
Douglas Fairbanks' "The Thief of Bagdad" is in the public domain, so it's no surprise that there are many DVD and VHS versions of this film available, from bargain basement tapes with no music taken from battered source prints, to high-quality editions with fine music and extras. (Many of the reviews given here are for different editions, so if they complain about the video transfer, missing scenes, or the musical score, keep in mind that such comments don't apply to all editions.)

The Kino "Deluxe Edition" is digitally mastered from a 35mm archive negative, with 19 minutes of rare outtakes and special effects footage as extras. The film is tinted throughout -- a color effect that was used on its initial release, and which adds greatly to the fantastic nature of the story and its immense sets.

The new score by the Mont Alto Motion Picture Orchestra (a quintet that specializes in reviving music used during the silent film era) is based loosely on the original "cue sheet" for the film by James Bradford. This means that you'll be hearing some of the music recommended for the film on its first release (although the music would have been different in each theater--silent film music was left up to the music director at each movie house). The music features many "oriental" pieces written for the silent film theater by forgotten "photoplay music" composers such as Gaston Borch and Irenee Berge, as well as pieces by classical composers like Rimsky-Korsakov who explored oriental themes. A written commentary and cue list of the music used is on the DVD as an extra, and can also be found at Mont Alto's web site, www.mont-alto.com.

A different high-quality edition from Image Entertainment features an organ score by Gaylord Carter, who was a talented theater organist, and that's also a good choice. Be wary of other editions -- it's an amazing film, and the extra money spent for a quality visual and audio treat is well worth it. The difference in run-time between the Kino and Image editions of the film is mostly explained by a different film transfer rate.

ANOTHER GREAT FAIRBANKS CLASSIC
first, hats off to Kino for releasing all these great, old Daouglas Fairbanks Sr. Classics on DVD. They have done a fantastic job and the Thief of Baghdad shows agains why Fairbanks was the master of the Swashbuckler.As the thief of Baghdad, his movements are dance-like -- nothing like the athletics he performed in most of his other films. In this Arabian take, the thief ignores the holy teachings and sneaks into the palace of the Caliph (Brandon Hurst). All thoughts of robbery slip away, however, when he sees the beautiful princess (Julianne Johnston). Princes have come from many faraway lands to win the princess' hand (and it's amusing to watch her face growing ever more alarmed at their arrival, because each one is uglier than the last). The thief disguises himself as a prince and the princess falls in love with him. After having a pang of conscience the thief confesses all to the Holy Man (Charles Belcher), who sends him to find a magic chest. He braves many obstacles to get it, and when he returns he discovers that the Mongol Prince (So-Jin) has taken over the city. Using the chest, the reformed thief creates armies of men out of nothingness and recaptures the city. He then uses the cloak of invisibility to spirit the princess away on a magic carpet. Fairbanks stole some of the special effects for his film from Fritz Lang's Der Mude Tod, which he had purchased for American distribution.

Thief of Baghdad, with its look of unrealistic beauty (courtesy of art director William Cameron Menzies), was not fully appreciated in its day. Because of its huge cost ($2 million -- a real fortune in those days), it made little money.

A true Silent Classic!

It's Cut?
Some one here says this DVD has a cut down version of the film. I was going to say, if you have never seen it, it's one of the Classics of the Silent era and Fairbanks. One thing I might add that will completly change the way you percieve this film... Think Gene Kelly. Don't think about Fairbanks as an Actor, think about him as a Dancer and suddenly this film becomes a whole other kind of experiance. I'd hate to see any footage missing from this Master Work of one of the Silent Eras greatest stars. If this version is indeed cut down, go look for the complete version, and one that isn't running at Sound Speed too.

Not bad for an older movie
I am not going to give a long lecture cause if you haven't seen it yet well then you don't know what your missing. ... It is very well paced not lagging to much, like some movies do. With a great story line and filled with action, good characters and the fight for good verses evil this movie is a must see. ... Read more

Amazon.com essential video

Douglas Fairbanks, the most famous of the Zorros, made this mix ofcomedy and derring-do reluctantly, as a change-of-pace from his modern-dress playboy roles. The Old California adventure fared so well at the box office it caused the athletic superstar to rethink his image and don period finery for his best later vehicles, including The Thief of Baghdad.

Here, Doug has a ball playing dual roles, as hopeless fop Don Diego and as masked caballero Zorro, sworn enemy of all oppressors. When he isn't dueling with the evil Capt. Ramon (Robert McKim) or rescuing peasants, Don Diego/Zorro courts the lovely Lolita (Marguerite de la Motte) with bad magic tricks and worse manners. In the end, when Lolita's family is jailed, our hero throws off his masquerade, whips out his rapier, and wins the leading lady's hand.

Full of fun plot twists, secret passageways, and Fairbanks's signature arms-akimbo bravado, this silent classic (with restored sepia interiors) became the model for all the Errol Flynn-Tyrone Power swashbucklers to come. --GlennLovell ... Read more

Reviews (12)

Loved it!!!
This is a great silent film and my first with Douglas Fairbanks, Sr. (I love his son - he's cool and looks a lot like Cary Elwes in Princess Bride). He is great in the part-daring and dashing about here and there as Zorro while yawning into his hankercheif like a 'fish' while a rich gentleman. (You'll note the story is very remniscent of the Scarlet Pimpernel.) The 'lines' are great, the acting very well done and a number of parts will have you chuckling (like when the girl slaps him not once, not twice, not thrice - and with both hands on either cheek!) I'll have to say that this is one of the most enjoyable silent films i've seen in a while. When I put it on, even my little sister came to watch it.

I loved this movie!
Last Thursday, I got "The Mark of Zorro", starring Douglas Fairbanks, Sr., and I have already seen it. I loved it!

I especially loved the way Fairbanks played the dual role of Don Diego Vega/Zorro. Don Diego's lifelessness was oftentimes amusing, and so were those magic tricks of his. And I loved seeing the practical jokes Zorro played on Sergeant Gonzales. Oh, and could Zorro ever woo Senorita Lolita Pulido!

The acting was probably very good for a 1920s movie (though quite frankly, this is the first time I really saw a silent film, so I don't have much to compare it to), though the performance of Marguerite de la Motte as Lolita, in particular, is slightly melodramatic at times. Still, it's a minor complaint, and it didn't keep me from loving the movie and from wanting to watch it often. END

One of the best of the silents.
The only silent film I have enjoyed as much as I enjoy the best of modern film is Buster Keaton's The General, but Douglas Fiarbanks' The Mark of Zorro holds up better than most silents. The original music by Jon C. Mirsalis adds a lot. The sequal, Don Q., Son of Zorro, is even better than "Mark", so be sure to buy the two films on one DVD from King Video.

Wierd
I saw this film last night on TCM. Silent movies are very odd. Douglas Fairbanks is impressive in his acrobatics and swordplay but does not look like Don Diego, who is said to be handsome in the original story. It is the basic traditional Zorro story, based directly on the original novel by Johnston McCulley. For my first silent movie, it was OK, but without sound it is hard to follow. All the original characters are here, all not as attractive as their parts suggest. The remake starring Tyrone Power is much more impressive.

Silent movie viewer's guide
I am afraid that silent movies are not for every taste. But complaining about a silent movie being bad because it is, well, silent is like complaining that a talking movie is bad because it, well, talks.

As with any entertainment from a different era, silent films require patience and an open mind to get the proper feel of. Some people can do this, some people can't, that does not make either side an inferior species.

After having just rewatched this film, I must say that I still find it quite enjoyable. (I have seen every readily available version of Zorro) This is still the best of the lot in my opinion for several reasons. First, no pretentions. Second, very good action. Third, wildly imaginative stunts for the time.

I do hope you will give this movie a fair chance, silent films are a fascinating intellectual challenge to a modern filmgoer and will widen your film appreciation. Set your mind back to 1920 and savour the taste of the era. ... Read more

Reviews (71)

Lon Chaney stars in the first great American horror film
It is a shame that in the popular imagination the classic 1925 silent version of "The Phantom of the Opera" has been reduced to the scene where Christine (Mary Philbin) unmasks the Phantom and reveals Lon Chaney's stunning make-up job. Because there is much more to this film than that sequence and the camera being out of focus as the Phantom moves towards Christine really bugs me. The visuals in this film are stunning, from the cavernous world below the Paris Opera house to the Phantom's entrance as the Red Death during the Masqurade Ball (filmed in Technicolor). For me the most memorable moment and Chaney's best scene comes at the end, when the Phantom is able to hold the mob that has hunted him down at bay because of the threat of what he holds in his hand. Then he starts to laugh at the fools, finally opening his hand to show it is empty and giving himself over to the violence of the mob. The scene is not in Gaston Leroux's 1910 novel, which relates how the bones of Erik were found years after the events told in this story, but it is a worthy addition to the tale. In regards to the famous unmasking scene, I do want to add that Rupert Julian's staging of the scene is really as impressive as the make-up, because the audience gets to see the face of the Phantom before Christine is presented with that horrible visage. I have always thought that Chaney's performance was so indelible that it was the reason that the Claude Reins and Herbert Lom remakes concocted an entirely new story, although it does make sense that when you add sound to the Phantom that you would take full advantage of the opera setting. Final note: When I got to see Michael Crawford perform as the Phantom in the Lloyd-Webber musical, I was not surprised that his outfit as the Red Death was clearly modeled on what Chaney wore in this film.

Very Good Restoration
The IMAGE entertainment restoration of the 1929 "Phantom of the Opera" starring Lon Chaney is a bit hit. The two-disk set is definately the definitive choice to own by all serious collectors. The clarity is better than any version I've seen to date, and for the first time, the correct running speed has been instituted here. The tradeoff however, is that the motion is somewhat choppy from too few frames. The characters move in proper real-time, and for the first time, you can see naturalistic movement in such scenes as the opening ballet sequence.

True fans need look no further than this two-disk Masterpiece Collection set from IMAGE. This is definately the one to own! The film is tinted and comes in a selection of three seperate sound tracks to choose from: a terrific new orchestrated score, the original sound score from the 30s, and a voice-over commentary track, which is insightful.

The second disk contains the original 1925 film, which few people have ever seen today. The quality is poor, but there are many scenes that are different from the version that we're all familiar with. It's worth watching.

But you cannot beat the restoration of the 1929 version on disk one of this set. It isn't quite the job that KINO put into Fritz Lang's "Metropolis" last year, but is terrific nonetheless. Thank you IMAGE. Great DVD!

One of the best
This is a beautiful (an absolutely beautiful) movie, one of the best I've ever seen. Lon Chaney, Sr. does a wonderfully dramatic performance as the tortured Phantom, who kidnapps an opera singer because he loves her. Unfortunately, she doesn't return the love, which drives him to madness.
The only thing that I disliked in the film was that Christine acts a little weird most of the time.
The dialogue is superb, and the Masked Ball scene is only one of the most memorable scenes in this movie

1925 Better than 1929
I am greatly disappointed with the 1929 version of the film. I thought it was going to be better than the silent one because it had sound, but I was wrong. The 1925 version is better than the restored one. Even though the restored version has sound, it takes the orginal and rearranges everything. They took the beginning of the 1925 and put it after Christine sings in the 1929 version. The person who plays Carlotta in the 1925 version is now Carlotta's mother and the Carlotta is different. The four stars is given to the silent 1925, the restored one is given 1 star.

Milestone version is the best!
Over the years, I have just about bought every version of the silent PHANTOM OF THE OPERA. In my opinion, the Milestone version is THE BEST. The elements have been cleaned up and the image is crisp, clear with good contrast for 90% of the film. This two disc set has both the 1929 and hybrid 1925 original. Actually the film is cleaner and better looking in this version than a lot of the official Universal thirties classic that have come out.
It has an excellent commentary by Scott MacQueen and a real treat is hearing the music originally composed for the sound version accompanying the action from original sound elements.
The Technicolor sequences are the nicest I have seen and through proper use of the colorization process, other scenes originally in color, are presented and match the actual color stuff very well.
This version has been made from the initial Photoplay restoration which also includes Carl Davis' original stereo score for those that must have modern stereo for their films, however, I prefer the mood and music of the original '30 soundtrack. There are a plethora of extras, and I don't think it is false hype to say this is the ULTIMATE EDITION of this classic film.
That's my two cents..... ... Read more

Description

The greatest box office success of all his independent comedies, "Battling Butler" (1926, 71 min.) is a rarely seen gem that mingles Buster Keaton's deadpan demeanor and awesome physical agility with a particularly dramatic storyline. Keaton stars as Alfred Butler, a fragile young man whose father sends him to the country where he hopes masculinity will blossom. Ironically, he is mistaken for "Battling" Butler, a renowned prizefighter. Alfred continues the ruse until the charade is complicated by the untimely arrival of the true contender (Francis McDonald). Also featured on this DVD are two of Keaton's rarely seen short films. A Yukon metropolis is the snowbound setting of "The Frozen North" (1921, 21 min.), wherein Buster parodies movie legends William S. Hart and Erich von Stroheim. "The Haunted House" (1922, 17 min.) has been meticulously restored to its original glory: an astounding series of sight gags and illusions. Digitally mastered from archival prints, with original musical scores. ... Read more

Reviews (4)

Buster Boxes In "Battling Butler"
According to the back of the DVD cover, BATTLING BUTLER (1926) represents Buster Keaton's greatest box-office success as an independent filmmaker. My mileage varied. There are some good gags in here, of course, but I found the whole thing to be more whimsical than hilarious. I can't say that I disliked it, yet I much prefer some of the other Keaton feature-length films.

In this film, Keaton once again plays the pampered son of privilege. Annoyed by his son's inability to do anything for himself (he even has a servant to remove his cigar ash), the father sends Keaton out onto a camping trip, hoping that fending for himself will toughen him. Unfortunately for the father, the son brings his manservant with him who provides Keaton with a luxury tent with all the amenities. Soon, Keaton finds himself impersonating an up-and-coming boxer with whom he shares the same name. He must keep the deception going in order to impress his girlfriend/fiancé/wife. I'd continue with the plot summary, except that, by now, the way the rest of the film unfolds should be fairly obvious.

The best jokes come in the film's first half, where the inept and spoiled Keaton is trying to come to terms with the outdoors. The second half isn't quite as good, although it does give Keaton the chance to show off his athleticism (one of the more obvious flaws is that the supposedly soft, pampered rich boy has the hard body of a skilled gymnast). The ending, with an out and out fistfight (I doubt it's a spoiler to reveal that a movie about boxing ends with a boxing match), is surprisingly brutal and almost sinister. I can't say I liked that scene very much, even as entertaining as Keaton always is.

THE HAUNTED HOUSE, a short film from 1921, is the highlight of the disc. It's another of those types of films with trapdoors, collapsing stairs and where pulling on a rope releases all kinds of hilarious terrors. Chasing a group of bank robbers back to their lair, Buster finds himself trapped in a bizarre house with the burglars and an utterly random group of actors, the cast of a production of "Faust". Men in obvious skeleton costumes or covered in large white sheets terrify the participants. It's extremely silly, but wonderfully entertaining.

THE FROZEN NORTH apparently only exists in pieces, and the version on this disc is a reconstruction of the surviving material. It holds together fairly well, but I must admit that I just didn't care for it. I think the biggest problem for me is that it's satirizing movies that I've never even heard of, much less seen. It's a bit rude of me to fault the film for that, but I honestly don't know if the film was funny or not. Many of the jokes flew right over my head. Maybe in a few years time, when I've seen a few more silent classics, I'll be more disposed towards liking the film. Still, it's nice to see Keaton playing against type, as a genuine bad guy.

This is one of the weaker entries in the "Art of Buster Keaton" collection, which is to say that while it has some brilliant parts, doesn't quite hold together well. I liked the HAUNTED HOUSE, but I would probably recommend one of the other discs in this series to someone unfamiliar with Keaton's work.

Battling Buster
Battling Butler is not as well respected as some of Keaton's more famous silent films. Leonard Maltin, for example, calls it 'one of Buster's weaker silent features.' It is true that it does not reach the heights of comic ingenuity that can be found in The General, but it is far from weak. It may not be as clever as some of Keaton's films but it is just as funny.

Battling Butler has a number of boxing scenes and it is natural to compare them with Chaplin's famous fight in City Lights. Whereas Chaplin is really a choreographed dancer disguised as a boxer, Keaton, though for the most part equally incompetent, shows that boxing has a dark and dangerous side. Keaton's fighting is finally savage and thus the comedy of his boxing scenes has a genuine tension which is lacking in the pure humour of City Lights. There is no danger of Charlie really getting hurt, but while watching Buster the viewer's laughter is mixed with fear for his well being. Keaton's athleticism makes his fighting realistic and gives rise to a genuinely shocking surprise at the end of the film. Both Keaton and Chaplin with their unique styles are wonderful comic boxers, but it is Keaton with his darker vision who most closely approaches the nature of boxing.

Keaton's leading ladies can be rather unmemorable. This is not the case in Battling Butler, for Sally O'Neil was obviously a fine comic actress. Her beauty is of the twenties style, a lost fashion which many fans of silent films admire so much. Moreover her character is someone to care about, an integral part of the story, rather than someone who merely acts as a prop for Buster's gags. Another memorable character is played by Keaton regular Snitz Edwards. Just looking at Edwards makes me laugh. His face contorts into the most marvellous of expressions and it is clear why he was a favourite with Keaton for he acts as a sort of contrast to Buster's stone face.

The quality of the print of Battling Butler is superb. It has almost no damage and the black and white images are sharp, clear and somehow more shining than is usually apparent with silent films. The prints of the short films which are included on this DVD are less good. The Haunted House is partially tinted with night scenes appearing blue. Unfortunately these blue scenes are a little too dark. Nevertheless this is a fine short film with some very funny moments. The Frozen North is described as surviving in only a fragmentary condition. However, it does not look as if a great deal of the film has been lost, as its running time of 17 minutes is not much less than other Keaton shorts and the continuity seems to be, for the most part, intact. The print quality though is quite poor with some of the images appearing bleached and indistinct. It is an enjoyable film with some good moments especially Keaton's impersonation of Stroheim's character from Foolish Wives.

Overall this is a wonderful DVD with a superb feature and two good shorts. It acts as a fine introduction to Keaton for those who are unfamiliar with his work, while for those people building a Buster Keaton collection it is indispensable.

Raging Buster
BATTLING BUTLER (1926): Buster plays Alfred Butler, a pamperedrich kid who is sent out into the wilderness by his father in order to make a man out of him. This does no good, because Alfred takes along his valet who waits on him hand and foot, and provides him with the luxuries he's used to at home. However, he falls in love with a girl out there, and in order to reach the approval of her family, poses as a famous prize fighter, also named Alfred Butler, to prove he's not the weakling he has shown himself to be. Much of this film takes place at the training grounds where the fighter Alfred Butler trains (and where Buster pretends to train, in front of the girl).

"Battling Butler" is a farce comedy - a plot involving a case of mistaken identity that could easily be cleared up if any person involved would just explain what's going on. Buster made other farce comedies ("Parlor, Bedroom, and Bath", "The Passionate Plumber"). All were hits, but he didn't think farce comedy was best suited for his style, and never included those among his favorites. Ironically, "Battling Butler" made more money at the box office than any of his favorites.

The most exciting scene in "Battling Butler" is where Buster beats the fighter Alfred Butler to a pulp. He's ferocious and frightening, and looks as if he trained hard before he shot the scene. Buster was obviously a jack of all trades, master of all. In addition to boxing, he was highly competent as: silent film comedian with perfect timing, sound film comedian with perfect timing, actor, director, writer, editor, stuntman, pratfaller, singer, dancer, acrobat, baseball player, and private in the US Army!...

Buster Keaton is cool!
Let's face it, talkies ruined the movies. This volume proves it as much as any other. Battling Butler is brilliant (especially the waterfall scene at the end), The frozen north is hilarious, and The haunted house is one of the funniest movies I have ever seen (especially the bank scenes). Get this movie now! ... Read more