19. My Wonderful World of Slapstick

    

19. My Wonderful World of Slapstick. Buster Keaton with Charles Samuels. 1960. 340 pages. [Source: Library] [adult biography, adult autobiography; film-making, show business, comedy]

First sentence: Down through the years my face has been called a sour puss, a dead pan, a frozen face, The Great Stone Face, and, believe it or not, "a tragic mask." On the other hand, that kindly critic, the late James Agee, described my face as ranking "almost with Lincoln's as an early American archetype, it was haunting, handsome, almost beautiful." I can't imagine what the great rail-splitter's reaction would have been to this, though I sure was pleased. People may talk it up or talk it down, but my face has been a valuable trade-mark for me during my sixty years in show business. 

Premise/plot: My Wonderful World Of Slapstick is Buster Keaton's autobiography written just six years before his death in 1966. (So it does not cover *all* of his career, but it does cover many years of his career.) Does the book cover anything and everything? Yes and no. There are chapters in his life that remain very much PRIVATE and undisclosed. Keaton is not one to name names--for better or worse.

For example, I am almost completely certain that he never mentions his first or second wives by name. His first wife is called "his future wife" or "my wife"  or "Mrs. Buster Keaton" and the like, but never her actual name or even nickname. She does appear by name in the book, but only because she appears in his filmography because she was his costar in Our Hospitality. There was a good reason he said zip, zilch about his second marriage. (I believe she was fond of lawsuits for ANYTHING and everything, no matter how tangential to the truth). It was his beloved [third] wife, Eleanor, who gets stories.

There are periods of his life where he shares in great detail about his life--both private stories and show business-y stuff. There are periods of his life where the details are harder to come by. Which is fair, in my opinion. He does talk industry both for STAGE and FILM and television. He has stories about people in front of the camera and behind it. He does not go into great detail about his own films. He does not take himself too seriously. It's like he'd rather shift into telling asides and anecdotes than to deep dive into his own brilliance at what he does/what he did. He comes across as very grounded. He says that Charlie Chaplin's problem was that he believed everything that was being said about him, written about him, and began to take himself too seriously and as [an elite] intellectual.

"I never realized I was doing anything but trying to make people laugh when I threw my custard pies and took pratfalls. Like anyone else I enjoy being called a genius. But I cannot take it seriously. Neither does Harold Lloyd, as far as I know. The only one of us who listened and accepted the role of genius intellectual critics thrust upon him was Chaplin. Sometimes I suspect that much of the trouble he's been in started the first time he read that he was a 'sublime satirist' and a first-rate artist. He believed every word of it and tried to live accordingly."

I would have wished for a little more detail about the making of his own films, but perhaps he wanted his films to speak for themselves. Though at the time this was written, his films would not have been readily available for easy viewing. There were revivals of his films--his films being shown again in theatres, etc.,--especially in Europe. He was MUCH BELOVED in Europe, and I believe the book said Keaton was absolutely HUGE, HUGE, HUGE, MEGA-SUPER-POPULAR in Russia. [Which would make sense of the fact that so many Keaton channels on YOUTUBE are Russian.] 

It was his private stories that fascinated me. He writes in one chapter of several different practical jokes that he was in on. If I remember the story correctly, some big studio executive [or similar execs] were coming into town to meet Roscoe Arbuckle, the two came up with a great practical joke: dress Buster Keaton up as his BUTLER and let the comedy follow. He'd be the clumsiest, klutziest butler ever to see if any would recognize him--the theory being that BUTLERS ARE IGNORED--before the big finale. Arbuckle would finally "lose his temper" and let the butler have it to the astonishment of his guests. Meanwhile, Buster would slip out and return as himself--a rising star in his own right--and "meet" the guests. This was just one of many practical jokes he played. Though it was near impossible to pull the same joke twice because word would spread around town. 

It was his outlook on life--though he has repeatedly been called NOT introspective or reflective--that impressed me most. He writes,

"I think I have had the happiest and luckiest of lives. Maybe this is because I never expected as much as I got. What I expected was hard knocks. I always expected to have to work hard. Maybe harder than other people because of my lack of education. And when the knocks came I felt it was no surprise. I had always known life was like that, full of uppercuts for the deserving and undeserving alike. But it would be ridiculous of me to complain. I find it impossible to feel sorry for myself. I count the years of defeat and grief and disappointment, and their percentage is so minute that it continually surprises and delights me."

My thoughts: I absolutely LOVED, LOVED, LOVED, LOVED, LOVED this autobiography. There was just something so grounded and matter of fact about his narrative style. He was amusing and fascinating. I imagine this book covers such a small, small, small fraction of stories he could have told.

Quotes:

• At any rate it was on purpose that I started looking miserable, humiliated, hounded, and haunted, bedeviled, bewildered, and at my wit's end. Some other comedians can get away with laughing at their own gags. Not me. The public just will not stand for it. And that is all right with me. All of my life I have been the happiest when folks watching me said to each other, "Look at the poor dope, wilya?" Because of the way I looked on the stage and screen the public naturally assumed that I felt hopeless and unloved in my personal life. Nothing could be farther from the fact. As long back as I can remember I have considered myself a fabulously lucky man. From the beginning I was surrounded by interesting people who loved fun and knew how to create it. I've had few dull moments and not too many sad and defeated ones. In saying this I am by no means overlooking the rough and rocky years I've lived through. But I was not brought up thinking life would be easy. I always expected to work hard for my money and to get nothing I did not earn. And the bad years, it seems to me, were so few that only a dyed-in-the-wool grouch who enjoys feeling sorry for himself would complain of them.
• The cast for our two-reelers was always small. There were usually but three principals--the villain, myself, and the girl, and she was never important. She was there so the villain and I would have something to fight about. The leading lady had to be fairly good-looking, and it helped some if she had a little acting ability. As far as I was concerned I didn't insist that she have a sense of humor. There was always the danger that such a girl would laugh at a gag in the middle of the scene, which meant ruining it and having to remake it.
• Even when making my two-reelers I worked on the theory that the story was always of first importance. But one thing we never did when making our silent comedies was put the story down on paper. On the other hand I never would agree to start shooting until I had in my mind a satisfactory ending for a story. The beginning was easy, the middle took care of itself, and I knew I could depend on my writers and myself to come up with any gags we might need as we went along.

 

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