Battling Butler (1926)
Written: Feb 02 '00
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Product Rating:
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Pros: Keaton as fop with servant
Cons: Keaton the boxer
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| BrianKoller's Full Review: Archived Movie Reviews |
Other than Charlie Chaplin, Buster Keaton is today probably the most famous actor from the silent era. He made numerous features considered classics today, especially The General and Sherlock, Jr.. But not all of his films were commercially successful, and his career was in decline even before talkies became predominant in 1929.
One film that did well was Battling Butler. The title promised action, and the idea of casting a comic actor as a foolhardy boxer was then original. (Chaplin, however, would do a better job at it in City Lights in 1931.) Surprisingly, however, the gags don't work very well. The best scenes come early in the film, and have nothing to do with boxing.
Keaton plays Alfred Butler, the pampered, complacent son of a wealthy, blowhard businessman (Walter James). Keaton has a doting manservant (Snitz Edwards), who clearly enjoys waiting on him. Battling Butler is at its best milking their relationship; they make such a wimpy partnership that it's no wonder Dad blows his top. He orders Keaton to 'rough it' in the woods, to become a man. But Keaton takes his servant with him, and lives in coddled comfort.
Alas, this entertaining setup comes to an end with the inevitable appearance of a love interest (Sally O'Neil). Keaton is so smitten that he proposes. O'Neil's family isn't impressed; they want her to have a real man for a husband. To win their approval, Keaton imposters as a professional boxer. Continuing this ruse becomes more difficult as his namesake gets a title shot. Events place the hapless Keaton in the boxing ring, training for a fight certain to land him in the hospital.
By this time, Battling Butler has lost its momentum. Sure, there's some entertaining scenes along the way: Keaton's chivalry makes a boxer (Francis McDonald) jealous; O'Neil fights with another woman over a box of chocolates. But the gags mostly fall short. One problem is the implausibility of the story, another is the repetitious nature of the cowardly, clumsy Keaton posing as a boxer. Perhaps the worst sin is that the film's best comic character, the prim manservant, has become peripheral to the story. Keaton's last minute personality change, and his wild pummeling of an unconscious opponent, end the film on a discordant note. (58/100)
Recommended:
No
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BrianKoller
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Member: Brian Koller
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