Sherlock, jr.

• Buster Keaton: Sherlock Jr.
• Kathryn McGuire: Girls
• Joe Keaton: her father
• Ward Crane: rival

Sherlock, Jr. is an American comedy silent film directed by and starring Buster Keaton from the year 1924.

Action

Projectionist Buster loves a girl, but is referenced by an intrigue of his rival of the house. In the dream he sees himself as a master detective who unmasked as criminals with incredible finesse his rival and incidentally captured the beloved girl. In reality, however, his mistress solve the crime itself

Comments

Production

The shortest around 42 minutes feature length film by Buster Keaton is one of its most amazing. By taking place most of the action in the dream projectionist, Keaton had the opportunity to a wealth of "impossible gags," film tricks and stunts to use that would hard to be found in a realitätsbezogeneren comedy, as it is about before been Our Hospitality, space. Due to its clever design Sherlock Jr. is now one of many connoisseurs of the best films ever made. Film critics appreciate him as a cinematic essay on the nature of cinema. At its premiere, however, audiences and critics was not particularly enthusiastic. As some works Keaton was just this more amazing than funny. The late Sherlock Jr. reputation has in common with the much more expensive The General, Sherlock Jr. being grossed at least its cost of production.

Tricktechnik

As the dream begins, emerges from the sleeping projectionist whose ghostly " dream ego " takes his hat off the hook ( the real will of course depend hat ) and goes to the cinema. Here are working with relatively simple double exposure. Much more complex, the effects are short on it: In the dream, Buster jumps into the canvas and thus in the scene of the film. As a result, he is caught as it were in the film, as in a seemingly endless sequence of cuts, the environment Busters is constantly changing: from salon entrance to gardens to road to mountains to jungle to desert etc. Here Buster is constantly striving to the sudden new adjust situation, but when he sits down on the garden bench, he lands hard on the pavement, and when he jumps into the sea water from a rock in the surf, he finds himself upside down in the snow. Since there was no back-projections nor the blue screen technique at that time, were also experienced cameramen whether the perfection of this two -minute long sequence in front of a puzzle. As Buster Keaton explained that the effect was achieved inter alia through an exact dimensions of the camera distance and through the use of rapidly -developed negatives of the last scene. A developed film squad was put in the viewfinder of the camera, and the cameraman could do the exact attitude Buster Keaton thereafter.

Many of the other, most amazing effects and gags but come from the repertoire of the Vaudeville, where Keaton worked since early childhood. So Buster flees example from his pursuers by jumping into a vendor's tray, carried by his assistant, and then vanishes without a trace. Or he disguises himself as an old woman, by jumping through an open window in which the costume was ready, he roams about in this way.

Stunts

It comes in the film to a chase in which Sherlock Jr. ( Buster ) sits on the steering fork of a motorcycle driven by his assistant. Through a bumpy road trough the driver but falls off the seat and remains on the road, while Sherlock Jr. unaware continue racing through the traffic. For the bumpy fall Buster Keaton had doubled for the driver, while he who should sit in the front on the steering fork, used a double of someone else. As a non- hazardous revealed itself another stunt: Keaton saves himself from the roof of a moving train by clings to a water crane. Here, Buster Keaton had underestimated the power of water, of the beam he was captured and thrown against the tracks. He complained of a headache after. But decades later, a doctor should recognize by radiography that Keaton's neck had begun.