Synopsis
A Comedy with a Heart of Gold
A young man falls for a young woman on his trip home; unbeknownst to him, her family has vowed to kill every member of his.
1923 Directed by Buster Keaton, John G. Blystone
A young man falls for a young woman on his trip home; unbeknownst to him, her family has vowed to kill every member of his.
Isten hozta!, La ley de la hospitalidad, Nossa Hospitalidade, Les lois de l'hospitalité, Ruutia, räminää ja rakkautta, Verflixte Gastfreundschaft, Frigo, obet' krevní msty, Krudt, Kugler og Kærlighed, I filoxenia mas, Нашето гостоприемство, Die verflixte Gastfreundschaft, Η Φιλοξενία μας, Les Lois de l'hospitalité, Accidenti, che ospitalità!, 荒武者キートン, 우리의 환대, Наше гостеприимство, Krut, kulor och kärlek, Konukseverliğimiz, 待客之道
Buster Keaton is rightfully known for his creative comedy, and Our Hospitality has examples of it in abundance. Arguably, his shorts are principally more focused when it comes down to demonstrating the resourcefulness of a single stunt in isolation, but when weighed against having a well-proportioned comedy with extraordinary timing and awareness to detail, this stands as one of his most significant and most ingenious movies, and it commenced a string of films throughout the nineteen twenties where he pursued his trademark humour brilliantly.
Of course, It wouldn't be a Keaton movie without a dangerous and over-the-top action set-piece, and the mechanics together with the production on a cautiously choreographed waterfall rescue scene are utterly marvellous; by embellishing the physical…
74/100
Begins so sluggishly, in an apparent attempt to mimic what was then considered a "proper feature," that I actually noted the appearance of the first recognizable gag, a whopping 17 minutes in. (Seriously, nothing prior could conceivably be deemed even an attempt at comedy. Very sub-Griffith.) Lengthy train ride feels like a pokey rehearsal for The General, and it's only when Keaton's bumbling McCoy finally arrives at the Hatfield home that real merriment ensues. Sublime from then on, culminating in what is still for my money the most amazing stunt in cinema history (the waterfall rescue), which is diminished only slightly when you learn how it was accomplished.
[93]
Not sure I can overstate how helplessly I fell in love with this film; from the opening prologue to the tender closing moments, I was more or less swooning uncontrollably at one thing or another. Commences like a Chaplin feature, more narratively focused and less overtly comedic, but necessary to pave the rural warmth that lay ahead. The period evocation must've been cozy back in 1920; watching it now is like a fever dream. There's something immensely comforting about "simpler" times, and Keaton paints them with an idyllic glow. This is a world where a homeless man is capable of stopping a locomotive (where locomotive = steam engine + a linkage of essentially stagecoaches that have been modified with…
Despite some outdated elements, for obvious reasons, this film is still full of Buster Keaton’s charm and courage. So many impressive shots and good doggos in this one.
“A very great artist, and one of the most beautiful men I ever saw on the screen.” - Orson Welles
Another Keaton smash, bonkers gags and boggling stunts once again proving he was the greatest of the silent film era. There’s no dedication to your profession quite like tumbling down genuine water rapids, swinging on a rope through a raging waterfall, and scaling a cliff-face. This might not be his finest work but it’s definitely up there, with special appearances from his dad and his one-year-old son just when it couldn’t get any warmer. Baby Buster! The cuteness is uncontainable. That lucky little boy.
buster keaton said if I don’t get to dress in drag at least once in every movie then i’m not doing it
Hold that thought, I’m busy doing side-by-side comparisons between this and The Adventures of Ichabod and Mr. Toad. Disney’s animators must have loved Keaton.
William McKay returns to his homestead where his family used to have deadly feud with the Canfields. On the trip, he falls in love with a woman of whom he’s unaware that she’s Joseph Canfield’s daughter.
Best Gag: Our Hospitality is more fun than funny, and prioritises stunts above jokes, especially in its breakneck finale which features stunt work that amazes to this day. The ‘best stunt’ award goes to the famous waterfall rescue scene; the best gag, however, plays out much earlier in the film, aboard a Stephenson’s Rocket steam locomotive train (which itself looks funny already). The train is making its way through the Appalachian landscape when a man anticipating the machine’s coming besides the tracks starts hurling…
This film makes me realize that my in laws aren't so bad.
Keaton tackles another fun concept where he pursues a woman who is related to a bunch of people that want to kill him. The scenes contained in the house are very fun moments. However it takes him about 20 minutes to get there and the ending falls a little flat.
Overall, it was another enjoyable comedy from the 20s, nothing special compared to the others but a good addition.
One of Keaton's first attempts at feature length. The first half is mostly setup devoid of jokes as if Keaton was unsure how to combine a proper narrative and comedy. When things hit and the world seems to conspire to keep Buster and his love separated we get some very inspired gags. It is like madness suddenly takes over the film. The proper victorian order subverted by mutual attraction. Final big stunt is the most Jackie Chanesque of Keaton's career.
6/10
Shoutout to @dz1ga for the recommendation.
Our Hospitality is a hit-or-miss when it comes to the jokes. The final chase scene will have you on the edge of your seat though. It's a good blend of suspense and comedy. Sadly, this film is not as timeless as Sherlock Jr.
This film made me realize how short Buster Keaton is. He's tiny compared to the other men in this film.