When Buster Keaton was in his prime, during the silent film period, there was nobody back then, when it came to comedy, more daring in terms of the jaw-dropping stunt-work, or who was able to make deadpan funny and expressive, and actually it is still like that now. Keaton wasn't nicknamed "The Great Stone Face" for nothing, and he took risks with the stunt work and physical comedy and was not afraid to do anything bold. It was a shame though that he didn't transition as well into sound and his films just weren't the same.
'The Goat' is one of his best and funniest short films, to me, mistaken identity has seldom been more wild and it is one of the most imaginative and funniest examples of it. If one wants to do anything acting-wise or story-wise concerning mistaken identity and want a model example to look to as inspiration while of course not duplicating, look no further than 'The Goat'. As far as Keaton's work goes, it's one of the quintessentials and personally would recommend it whole-heartedly to anybody and everybody.
It looks good, not a technical achievement or with the resources to be so but it hardly looks cheap, for a silent short film. The photography is pleasing to look at.
As said, 'The Goat' is one of his funniest short films. There is a lot of comedy, all physical, and it never feels too much. Luckily they are beautifully timed and are hilarious, with the elevator scene being classic Keaton. Some comedies, even the good ones (and too many of them regrettably these days are not), have at least one gag that doesn't work, but all the gags in 'The Goat' work (wonderfully too), remarkable too for so many.
Not just gags here in 'The Goat'. There are a lot of chase sequences too, and 'The Goat' is one of the best examples of how to make chase sequences inventive and never repetitive. There is some remarkably imaginative work here that one wouldn't believe possible, work that hasn't been equalled since and not to be tried at home. That stops it from being repetitive and it never feels like the same thing over and over again, on a side not that is also one of the dangers of running gags (Keaton had examples of running gags in his work and they seldom fell into that trap).
Keaton's stunt work is as ever impeccable and very daring, again in a way that has not been matched let alone bettered since. Loved the freedom and sometimes wonderful strangeness of the story and despite it being slight it didn't feel dull in any way, down mainly to a lot going on.
Pitch perfect too is Keaton's performance. Not only is his comic timing on point but he once again provides a character that's endearing and worth rooting for. His physicality and how he copes with the stunts is awe-inspiring and he is one of not many to make deadpan interesting and entertaining because he still makes it very expressive and nuanced.
Summing up, outstanding. 10/10
'The Goat' is one of his best and funniest short films, to me, mistaken identity has seldom been more wild and it is one of the most imaginative and funniest examples of it. If one wants to do anything acting-wise or story-wise concerning mistaken identity and want a model example to look to as inspiration while of course not duplicating, look no further than 'The Goat'. As far as Keaton's work goes, it's one of the quintessentials and personally would recommend it whole-heartedly to anybody and everybody.
It looks good, not a technical achievement or with the resources to be so but it hardly looks cheap, for a silent short film. The photography is pleasing to look at.
As said, 'The Goat' is one of his funniest short films. There is a lot of comedy, all physical, and it never feels too much. Luckily they are beautifully timed and are hilarious, with the elevator scene being classic Keaton. Some comedies, even the good ones (and too many of them regrettably these days are not), have at least one gag that doesn't work, but all the gags in 'The Goat' work (wonderfully too), remarkable too for so many.
Not just gags here in 'The Goat'. There are a lot of chase sequences too, and 'The Goat' is one of the best examples of how to make chase sequences inventive and never repetitive. There is some remarkably imaginative work here that one wouldn't believe possible, work that hasn't been equalled since and not to be tried at home. That stops it from being repetitive and it never feels like the same thing over and over again, on a side not that is also one of the dangers of running gags (Keaton had examples of running gags in his work and they seldom fell into that trap).
Keaton's stunt work is as ever impeccable and very daring, again in a way that has not been matched let alone bettered since. Loved the freedom and sometimes wonderful strangeness of the story and despite it being slight it didn't feel dull in any way, down mainly to a lot going on.
Pitch perfect too is Keaton's performance. Not only is his comic timing on point but he once again provides a character that's endearing and worth rooting for. His physicality and how he copes with the stunts is awe-inspiring and he is one of not many to make deadpan interesting and entertaining because he still makes it very expressive and nuanced.
Summing up, outstanding. 10/10