The consensus view on Clyde Bruckman was summed up by Tom Dardis, biographer of Harold Lloyd and Buster Keaton: “he was not very funny, and he drank too much”. Matthew Dessem’s The Gag Man, an entertaining and revelatory study of the writer-director, does little to erase that image, but does examine how he came to “direct” some of silent cinema’s greatest comedies, and tells one heck of a Hollywood yarn.
Bruckman was a journalist who entered the film industry as an intertitle writer, before becoming a “gagster”. The “gag men” would conceive visual jokes for silent comedies, working in groups, throwing ideas around, so it’s tricky to say who did what. However, Bruckman is credited with the brilliant concept for Buster Keaton’s The Playhouse (1921). The star had a broken ankle, which limited his usual acrobatic display. Bruckman sketched out an idea for creating laughs out of camera trickery instead of physical exertion. Thanks to deadly timing on behalf of cameraman and star, the multiple exposures work perfectly, including a triumphant sequence in which nine Keatons dance together.