Buster Keaton’s The General (1927) goes on theatrical release this Friday – which should be cause for celebration and mass ticket-buying among all of you. However, if you are a regular reader of this blog, you have probably seen this classic, poll-bestriding Civil War caper before, very possibly in the dim and distant. What worries me, what keeps me up at night, is that if so, you may feel a bit “so-whattish” and “seen-it-all-beforeish” about Keaton’s masterpiece. That would be a tragedy, as The General is one of the funniest, most ingenious and gosh-darn exciting films you will ever see in your long and happy life. If familiarity has bred a tough of contempt, or just complacency, in your bosom, I would gladly bend your ear about the pin-sharp 4k transfer, and the booming rendition of Carl Davis’s nimble and turbo-charged score on this digital print. But that geeky stuff isn’t for everyone, so if that doesn’t tempt you, here are five more reasons to see The General … again.
The early, funny stuff
So we all know The General as a chase film, packed with stunts and crashing locomotives. Well, it actually starts in a very sedate fashion, as our hero Johnnie (Buster Keaton) goes to visit his girl Annabelle, who prompts him to enlist and fight for the South. Patience is a virtue – don’t be in a rush to get to the fast and furious business on the tracks. Johnnie’s pratfall as he leaves Annabelle’s house, the beautiful recruiting-office sequence and that wonderful selfie of Johnnie and his other beloved are all worth arriving at the cinema nice and early for. The scene-setting opening ends with one of the quietest, but most dangerous stunts in the whole movie, as Johnnie perches forlornly on the coupling rods of a locomotive that is picking up speed …
The General‘s Southern belle is far more than a damsel in distress. To be frank, she’s a pain in the neck – watch her daintily selecting firewood and feel Johnnie’s pain. But to be fair, she takes more than her share of punishment too: kidnapped, soaked (twice), caught in a bear trap, stuffed into a sack and loaded as freight. Not only that, but consider this: to paraphrase Ginger Rogers, you try doing everything Buster Keaton does, but backwards and in a crinoline.
There is another reason to take note of Annabelle – she is played by a fascinating woman. Marion Mack knew more than most about the silent movie business. A former Mack Sennett Bathing Beauty, she later turned her hand to screenwriting, including a semi-autobiographical flick called Mary of the Movies, which she also acted in. In the the 30s, she even wrote a talkie short for Keaton. And when critical favour began to smile on The General in the 70s, she was on hand to speak at screenings and festivals, explaining what it was like to play one of Keaton’s not-so-straight women. We don’t have opportunities like that any more, so thank you Marion.
Yes, that is a real train
The one that falls through the burning Rock River Bridge? Yup. It’s not a model (you’re thinking of The Blacksmith). And if you thought it was CGI – shame on you. Famously, the destruction of the train in The General is the most expensive shot in silent movie history, and it’s a salient reminder that everything you see on screen here is real – including the danger that Keaton and Co frequently faced as they went about those wild stunts.
Those damn Yankees
Marion Mack isn’t the only thing here that gives us a flashback to Mack Sennett’s mid-teens romps. Those Yankee soldiers giving chase to Johnnie and Annabelle are enjoyably, hilariously inept. Hoot as a whole gaggle of them fail to fix the points our man has so thoroughly snookered, until their driver appears with a an axe and a shove; chortle as they topple like dominoes with every jolt of the engine. These buffoons are Keystone Kops in all but name. A guilty pleasure in a very sophisticated film.
War is hell
It’s not all larks and big kids playing with big train sets, of course. The General is a war movie, based on a true story – the hijacking of a train headed for Chattanooga, Tennessee. And it’s easy to forget that The General has a rather grim battle scene of its own, with swords and snipers and several deaths. Even the jokes fail to lighten the mood here. The flag gag, in which Johnnie grabs a confederate pennant from his falling comrade’s hand, and waves it in victory from a rocky outcrop, only to discover he has seriously misplaced his feet, is an unexpected splash of black humour. It’s a nifty moment that sharply undercuts any jingoistic vibes you may get from this story of a plucky underdog and his little engine that could.
If you see The General on its extended run at BFI Southbank, it will accompanied by Keaton’s sublime early short One Week. If you were to ask me, right now, which of the two were the better film, I would have to say … “tough call”.