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class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z" fill="black"></path><path class="in-bookmark-stroke" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z" fill="black"></path></svg></div></a></li></ul></div></div></div><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearLeadWrapper-jYfGAC kBeEbL"><div data-ttid="ContentHearLeadAsset" class="SplScreenContentHearLeBlock-nUOA cwQiEB"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SplScreenContentHearLe-bGywFh gyNssY"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SplScreenContentHearLe-bGywFh gyNssY rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Portra of Bter Keaton." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" 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iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">Crics like to create . If a pair of new Grover Cleveland bgraphi appears, we say that, wh the prospect of a Print returng to w a send term after havg been feated at the end of his first, who else would tert more than the only Print who has? In realy, the bgraphers started their work back when, and now is when the bgraphi jt happen to be ready. And so is wh the appearance of two signifint new books about the silent-film edian Bter Keaton. We start to search for his ntemporary relevance—the fluence of silent-edy short subjects on TikTok?—when the reason is that two good wrers began wrg on the subject a while ago, and now their books are here.</p><p class="paywall">The tth is that Keaton’s promence has reced, probably irretrievably, om where stood half a century ago—a time when, if you were passnate about movi, you wore eher the whe rose of Keaton or the red rose of <a href=">Chapl</a> and quarrelled fiercely wh anyone on the other si. In Bertolucci’s wonrful movie about the Paris revolt of May, 1968, “The Dreamers,” two stunt radils, French and Amerin, nearly e to blows over the relative mers of Charlie and Bter: “Keaton is a real filmmaker. Chapl, all he r about is his own performance, his own ego!” “That’s bullsh!” “That’s not bullsh!” Meanwhile, Janis Jopl growls on the stereo behd them.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">In a weird way, the terms of the quarrel rived om the German Enlightenment philosopher Gotthold Lsg’s search for the “sence” of each art form: poetry do time, sculpture do space, and so on. To the Keaton lovers, Chapl was stags, and therefore sentimentaly, while Keaton was cema—he moved like the movg pictur. Chapl’s set piec uld easily f onto a mic-hall stage: the dance of the dner rolls “The Gold Rh” and the boxg match “Cy Lights” were both born there imagatively, and uld have been transposed there. But Keaton’s set piec uld be ma only wh a mera. When he employs a vast and empty Yankee Stadium as a background for the private pantomime of a ballgame, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Cameraman</a>,” or when he plays every part a vville theatre (cludg the tty society wiv, the orchtra members, and the stagehands), “The Play Hoe,” the thgs uld not even be <em>imaged</em> whout the movi to image them . The Keaton who created the shipboard bs “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Navigator</a>” or the dream scene “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Sherlock Jr.</a>” was a te filmmaker rather than a film-taker, a molr of movg sequenc rather than someone who poted the mera at a stage set. (One uld make siar claims for the superr cematic stcts of Harold Lloyd, who tend to get dragged to the arguments much the same way that the Kks get dragged to arguments about the Beatl and the Ston—though Lloyd, like Ray Davi, was such a specialized taste that he uld only extend, not end, an argument over the virtu of the other two.)</p><p class="paywall">Take the long sequence toward the end of “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Steamboat Bill, Jr.</a>” (1928), which Keaton, playg an effete, Boston-ted heir who rejos his father, a short-tempered Southern steamboat pta, gets ught a cyclone that pulveriz a small town. The episo is breathtakg s dacy and poetry, an unexampled work of pure special-effects ballet. The ho explo, a thoand shards of wood, as Keaton wanrs among them. The moment when the faça of a hoe falls on Keaton, who is saved by a well-placed attic wdow, has been “memed” as the very image of a narrow pe. But is merely an cint a longer sequence that begs when the roof and walls of a hospal buildg are whisked away like a magician’s napk; then a much bigger hoe falls on Keaton, who, acceptg ntrally, grabs a tree tnk and holds tight as fli across town and to the river. Nothg like had ever been seen a theatre, or even imaged a book, so specific are s syntax and realizatn to movg pictur.</p><p class="paywall">How are we to share the glori 2022? Fortunately, Cohen Films has produced mt-qualy rtoratns of all the great movi, and <a href=">Peter Bogdanovich</a>’s last work, the 2018 documentary “The Great Bter,” is a terrific anthology of highlights. Even more fortunately, those two new books, each excellent s way, are weirdly plementary their pletens. Jam Curtis’s “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Bter Keaton: A Filmmaker’s Life</a>” (Knopf) is an immense year-by-year, sometim week-by-week, acunt of Keaton as an artist and a man. Every tail of his life and work is here, startg wh his birth, 1895, as Curtis pastakgly clarifi which of two potential midwiv attend to the matter. (Mrs. Thera Ullrich rather than Mrs. Barbara Haen, for the rerd.) His perpetually tourg and performg parents, Joe and Myra, had been on the road when happened, the one-horse town of Piqua, Kansas. Curtis tak through the progrs of the btal edy act that Joe Keaton raised his son to star ; thgs were so hard at the turn of the century that at one pot Harry Houdi, wh whom the three Keatons shared a show, had to pretend to be the kd of psychic he spised orr to draw the b to the theatre. We even hear about gags that Bter Keaton helped vent for Abbott and Costello his later, seemgly fallow, years.</p><p class="paywall">Dana Stevens, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Camera Man</a>” (Atria), tak an origal and, a way, more distanced approach to Keaton. In place of a standard social history of silent edy, much ls a standard bgraphy, Stevens offers a seri of pas ux between Keaton and other personag of his time, who shared one or another of his preoccupatns or projects. It’s a new kd of history, makg more of overlappg horizontal “am” than of direct chronologil history, and Stevens do extraordarily well.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">Some of the pairgs, to be sure, are more graceful than others. The edienne Mabel Normand appears for the somewhat remote reason that Chapl refed, early his reer, to be directed by her, a fact that’s taken as an x of the misogyny that reigned the world of silent edy. (The tth is that Chapl, a once--a-century talent, routely bullied <em>anyone</em> who tried to tell him what to do.) On the other hand, a chapter on Robert Sherwood and Keaton is genuely illumatg. Sherwood, now fotten spe four Pulzers and an Osr, was one of those wrers whose liv reveal more about their time than do the liv of those wrers gifted enough to exist outsi their time. The thor of well-ma, well-meang plays advancg progrsive —he end up as one of F.D.R.’s chief speechwrers—he champned Keaton, notably the pag of <em>Life</em>, wh acute discernment, a remr that the tegori of popular culture and ser art were remarkably permeable the twenti. Jt as Hart Crane was wrg poetry about Chapl when Chapl was still only very partly formed, Sherwood regnized Keaton’s greatns almost before seemed pletely manift. Wrg about Chapl, Lloyd, and Keaton the early twenti, he mataed that their efforts “approximate art more closely than anythg else that the movi have offered.” Sherwood even wrote a feature for Keaton, which, like Jam Agee’s attempt at wrg a movie for Chapl, proved unmakeable. Sherwood’s script got Keaton marooned high up a skyscraper but uldn’t fd a way of gettg him down. When Keaton and Sherwood saw each other later years, Sherwood promised to get him down, but never did.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Keaton seems to have been one of those ic geni who, when not workg, never felt entirely alive. He fulfilled the Flbertian ia of the artist as someone whose whole existence is poured to his art: the word “dull” crops up often as people remember him. Curtis is particularly good on the early years. Joseph Frank Keaton spent his youth his parents’ knockabout vville act; by the time he was eight, basilly nsisted of his father, Joe, pickg him up and throwg him agast the set wall. Joe would announce, “It jt breaks a father’s heart to be rough,” and he’d hurl Bter—already lled this bee of his stoicism—across the stage. “Once, durg a matee performance,” Curtis reunts, “he nocently slammed the boy to scenery that had a brick wall directly behd .” That “nocently” is dog a lot of work, but all this btaly certaly nveyed a basic te of edy: treatg raw physil acts, like a kick the pants, a cerebral way is funny. “I wa five sends—unt up to ten slow—grab the seat of my pants, holler bloody murr, and the dience is rollg the aisl,” Keaton later relled. “It was The Slow Thker. Audienc love The Slow Thker.”</p><p class="paywall">A quick md impersonatg the Slow Thker: that was key to his ic ventn. The slowns was a sign of a ut, lculatg ner life. Detachment the face of disorr remaed his touchstone. Of urse, stoicism is one of the easier virtu to aspire to when your father has actually put a handle on your pants orr to ease the act of throwg you across a vville proscenium, and ’s easy to see the btaly as the wound that drew the bow of art. But this se the wound <em>was</em> the art; Keaton md ls the rough play than his creasgly dnken father’s refal to let him out of the act long enough to go to school. He seems to have had exactly one day of public tn.</p><p class="paywall">In New York, the Keatons found themselv at war wh cy reformers who were evintly more passnate about keepg children off the vville stage than about keepg them out of the sweatshop; arrts and urt appearanc ensued. After that, the fay largely avoid New York, often retreatg to the backwoods rort town of Mkegon, Michigan, the neart thg young Bter ever had to a home. It was only when Joe started drkg too hard and got sloppy onstage that, 1917, the fastid Bter left him and went out on his own. It was the abe of the art form that seemed to offend him.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">In those days, young edians were beg swept off the stage and to the movi more or ls the same way that garage bands were swept out of high-school gyms and to rerdg studs the neteen-sixti. Keaton fell wh Joseph Schenck, then a novice movie producer, who paired him wh <a href=">Rose (Fatty) Arbuckle</a> the equivalent of the John Belhi–Dan Aykroyd teamg, a “natural” edian wh a technil one. The partnership was an immediate succs, startg wh the two-reel short “The Butcher Boy” (1917), and was only briefly terpted when Keaton was drafted and spent part of 1918 France, havg a good time servg the Great War.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="659wqk"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="84hgse"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Keaton often creded Arbuckle wh showg him how movi worked. But Schenck’s role was jt as important. Ana Loos relled him as someone who brgs “forth the aroma of a special sort of smoked sturgeon that me om Barney Greengrass’s litsen”; and he and his brother, Nick, who later ran M-G-M, were cynosur among the generatn of Rsian Jews who domated Hollywood for the next half century. Joseph Schenck was married to the film star Norma Talmadge; many dry-eyed observers thought that he was the trophy, and that Talmadge married him to keep the producer her pocket.</p><p class="paywall">Keaton’s early entry to the movi, after his almost plete isolatn om a normal childhood, meant that he was really at home only wh the world of his own ventn. One gets the imprsn that he maly lived for the choreography of movie moments, or “gags,” as they were unpretently lled, though they were rather like Balanche’s work, wh scene and movement and story prsed together one swoop of actn. Keaton was not a rear, unlike Chapl, who fell on Roget’s Ths wh the appete of his own Tramp eatg the shoe. Sex was of absent-md importance for Keaton; his marriage to Norma Talmadge’s sister Natalie, 1921, was apparently ceremonial and, after two children were born, celibate, at her mother’s sistence. Nor was he a fay man; after they divorced, he hated losg ctody of his kids, but isn’t clear if he saw them much when he had them.</p><p class="paywall">Around 1921, when false charg of rape and murr vastated Arbuckle’s reer, Keaton was sympathetic, and then smoothly moved on, makg solo movi. “He liv si the mera,” as Arbuckle observed. Beg anti-sentimental to the pot of seemg ldhearted was at the re of his art. “In our early succs, we had to get sympathy to make any story stand up,” he said once, a rare moment of reflectn. “But the one thg that I ma sure—that I didn’t ask for . If the dience wanted to feel sorry for me, that was up to them. I didn’t ask for actn.” Life dished out, and Keaton’s character jt had to take .</p><p class="paywall">Crics have drawn a nnectn between the Arbuckle sndal and Keaton’s short edy “Cops” (1922), ma between Arbuckle’s trials, which Keaton, havg been ught accintally tossg an anarchist bomb, is chased across Los Angel by hundreds of police officers. This is the kd of njecture that shows ltle unrstandg of the way that artists work, rather like the belief that Pisso’s barbed-wire portras of Dora Maar, the neteen-forti, are protts agast the Occupatn, rather than a product of his own obssive imagery. “Cops” is not about false accatn; ’s about the massed ic power of regimented men motn, uniform actn every sense. Pure artists like Keaton work om their own obssns, wh edorials attached awkwardly afterward.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Person holdg a genie lamp realiz they wasted their three wish on peanut butter jelly and bread." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“Come to thk of , the all probably uld have been one wish.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Johnny DiNapoli</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span 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20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">His first feature, no surprise, was a movie about a movie, an amb parody of <a href=">D. W. Griffh</a>’s legendary epic “Intolerance” (1916), which Keaton’s sister--law Constance Talmadge had appeared. His “Three Ag,” seven years later, stowed together three parallel stori—one Stone Age, one Roman, and one morn—and mocked both Griffh’s smic ambns and his cross-century edg scheme. The veman edy is the same as all veman edi (Keaton has a llg rd scribed on a stone, etc.), but the Roman sequenc are done wh even more panache than Mel Brooks’s “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">History of the World, Part I</a>.” Soon, Keaton was earng a thoand dollars a week, and beg so rich that he, the boy who never had a home, built his wife a wildly extravagant fx Italian villa.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Dana Stevens tak up the really big qutn: What ma Keaton’s solo work seem so morn? Jt as “Cops” n be fairly lled Kafkaque s juxtaposn of the unfairly pursued hero and the implable facels forc of thory, there are moments throughout “Sherlock Jr.” (1924) when Keaton achiev the Surrealist ambn to realize dreams as livg actn. Sequenc like the one which Keaton seems to step directly to the movie-hoe screen, and leaps om scene to scene wh the projectn perfectly eded non sequurs, make the Surrealist cema of Buñuel and Maya Deren seem studied and gelato.</p><p class="paywall">Stevens argu that Keaton’s art was rmed by the same social revolutns as the European avant-gar: “The pervasive sense of anxiety and dislotn, of the need to revent the world om the ground up, that groups like the Surrealists or the Bloomsbury thors sought to exprs imag and words, the human mop-turned-filmmaker exprsed the ic movement of his body.” But Keaton also looks surreal bee the Surrealists were feedg off the same sourc as Keaton was, circ and vville and the mic hall and stage magic. The Cubists, the Dadaists, and the Surrealists all had the sense that, as bourgeois pieti had grown creasgly meangls, the only grammar om which one uld nstct a credible art was that of farce. So those clowns and ic artists who held down the tradn of burlque and nonsense edy were, willy-nilly, the mornist’s dream brothers.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">And then, a mornist way, Keaton’s movi very often are <em>about</em> the movi, which was a natural outgrowth of his sgle-md absorptn his chosen medium. In “Sherlock Jr.,” he plays a dreamy projectnist who falls to his own films, and “The Cameraman” (1928) the joke is that Keaton’s character accintally mak newsreels filled wh mera tricks, double exposur, speed-up time, and backward movement. Even that great cyclone scene “Steamboat Bill, Jr.” is meant not to provi an illn of realy but to show off the possibili of artifice.</p><p class="paywall">Keaton’s subject, a larger sense, is the growth of technology and the Amerin effort to tame . There is srcely a classic Keaton film of the twenti that don’t volve his facg, wh affectn or rpect more often than terror, one or another morn mache: the movie mera, the submare, the open roadster. Throughout “The Navigator” (1924), he looks unnnily like Wilbur Wright the Lartigue portra. Keaton seems, the bed tegry and opportunism of his persona, to expla how those alarmg mach emerge om an olr Amerin culture of tkerers and bicycle repairmen.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Keaton’s greatt work was ma the five years between “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Three Ag</a>” (1923) and “The Cameraman.” “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The General</a>” (1926), the first of Keaton’s featur to enter the Natnal Film Registry, was—surprisgly, to those who thk of as Keaton’s acknowledged masterpiece—a cril flop. A refully plotted Civil War tale, more adventure story than ic spoof, shared the typil fate of such passn projects: at first a bafflg failure, for which everyone blam the artist, and which do him or her immense profsnal damage, then gets redisvered when the passn is all that’s evint and the fancial perils of the project don’t matter anymore. Nobody qutned Keaton’s cisn to make , sce the movi he had ma the same system had all been profable. But bsmen, unrstandably, hate tstg artists and wag for the product, and are always lookg for an exce to impose a disciple the artists lack. It tak only one bomb to brg the acuntants down on the head of the edian. Stevens, parg the film to Michael Cimo’s “Heaven’s Gate,” wr, “<em>The General</em> was ls a e than a symptom of the end of a certa way of makg movi. The pennt productn mol that for ten years had allowed Bter the eedom to make exactly the movi he wanted . . . was llapsg unr s own weight.” The thg that baffled s tractors (even Sherwood didn’t like ) and, at first, repelled dienc was the thg that seems to now darg and dac: the seamls mixture of Keaton’s edy wh s soberly realistic renrg of the perd. No Amerin movie giv such a memorable evotn of the Civil War landspe, all smoky Southern morngs and stere enmpments—a real triumph of art, sce was shot Oregon. Many of the imag, like one of a short-barrelled nnon rollg alone on the railroad, put one md of Wslow Homer.</p><p class="paywall">Two years later, a stud sleight of hand so sneaky that Curtis spends a page and a half figurg out what the hell happened, Keaton beme the subject of a baseball-style tra, which Joe Schenck had Keaton transferred om Uned Artists to his brother Nick, at M-G-M. That gave M-G-M a cleanup-hter edian—Uned Artists already had Chapl—while makg sure that, post-“General,” Keaton would be more closely supervised by M-G-M’s boy geni, Irvg Thalberg. Chapl tried to warn Keaton off M-G-M. “Don’t let them do to you, Bter,” he said. “It’s not that they haven’t smart showmen there. They have some of the untry’s bt. But there are too many of them, and they’ll all try to tell you how to make your edi.” Keaton’s passivy ma him reluctant to heed the warng, and off he went, Schenck to Schenck.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The mostly disastro years that Keaton spent at M-G-M are the real subject of Stevens’s chapter on <a href=">F. Stt Fzgerald</a>. Thalberg will always have his fenrs, but once one gets past the “qualy” films he sponsored, be clear what a n artist he was. He sold one observer after another—cludg Fzgerald, who took him as the mol for his ialized “last tyon,” Monroe Stahr—on the subtlety of his tellect, while everythg he did revealed him to be the most thls kd of mercial-md cynic. Thalberg robbed the Marx Brothers of their anarchy and Keaton of his elegance, turng him, as Stevens plas, to a mere stock be figure. The Thalberg system tend to work well for an artist jt once—as both the Marx’ and Keaton’s first films for M-G-M, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">A Night at the Opera</a>” and “The Cameraman.” But Thalberg didn’t grasp what had actually worked: the expensive style of the productn, ptg the Marx agast the pomposy of opera, and placg Keaton agast a full-sle lotn shoot New York Cy. What Thalberg <em>thought</em> worked was schlock imposed on geni: big productn numbers for the Marx and unrequed-love be edy for Keaton. In many subsequent movi, at M-G-M and elsewhere, his character was named Elmer (and once even Elmer Gantry), to typify him as a backwoods yokel.</p><p class="paywall">The M-G-M edi did cently at the box office, but Keaton, an artist jured by the persistent sults to his artistic telligence, started to drk hard, and soon the drkg drowned out that telligence. The actrs Louise Brooks rells him drivg dnk to the stud, where he silently stroyed a room full of glass bookshelv wh a baseball bat. She sensed his msage: “I am ed, I am trapped.” In 1933, he was fired by Louis B. Mayer, sentially for beg too smashed, on and off the set, to work. Keaton’s M-G-M experience, spe var efforts by Thalberg and others to keep his reer alive as a gag wrer, ed his art. The next s are tly paful to read about, as Keaton went and out of hospals and clics, fallg off the wagon and then soberg up aga. His brother--law, the rtoonist Walt Kelly, rells that “nobody really wanted to put him unr ntrol bee he was a lot of fun.” What we perhaps miss, acunts of the boozers of yore, is an aquate sense of how much fun they all thought they were havg. Dnks of that perd uld not be shaken om the nvictn that they were havg a good time until they were hled off to the hospal.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">As Curtis tablish, when Keaton did dry out, by the neteen-fifti, he had much better later years than the public image suggts. That image persists; a recent, impassned French documentary tled “Bter Keaton: The Geni Dtroyed by Hollywood” matas that “ jt a few years he went om beg a worldwi star to a washed-up artist wh no future.” Curtis mak clear that this assertn is wildly exaggerated. Keaton did as well as uld have been hoped. But the notn that sound killed off the silent edians is one of those ias which, seemg too simple to be te, are simply te. Chapl endured bee he had money and pennce, but even he ma only two more edi the thirti; Harry Langdon was ed and Harold Lloyd kept his money and whdrew.</p><p class="paywall">Keaton did have to unrgo a certa amount of whatever-happened-to huiatn; he is one of Gloria Swanson’s bridge party of silent has-beens “Sunset Boulevard.” In tribute after tribute, he was nscendgly associated wh ctard-pie-throwg edi of a kd he had almost never ma. But he was properly valued France, had succsful seasons at the Medrano Circ, and worked ceaselsly as a gag man, even ventg an entire route for Lucille Ball that beme part of the pilot for “I Love Lucy.”</p><p class="paywall">His most famo late appearance was alongsi Chapl “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Limelight</a>” (1952), Chapl’s last tertg movie, which they play two down-on-their-luck vvillians. Claire Bloom, who played the génue, rells that, twenty-one days of shootg, Keaton spoke to her exactly once, when showg her a tourist-type photograph of a betiful Beverly Hills hoe. He told her that had once been his home, then fell silent. This seems sad, but Curtis also evok him watchg the merawork and helpg direct Chapl: “It’s okay, Charlie. You’re right the center of the shot. Yeah, you’re fe, Charlie. It’s perfect.” Even when he was too ail to n or move much, as the 1966 film “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">A Funny Thg Happened on the Way to the Fom</a>,” ma a year before his ath, and directed by his idolater Richard Lter, his face was a bean not merely of endurance but of a kd of lost Amerin tegry, the tegry of the engeer and the artisan and the old-style vville performer.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Two kds of Amerin edy ma themselv felt the first half of the twentieth century: the edy of vasn and the edy of ristance. The first was the immigrant edy of energy, enterprise, mischief, and mayhem. The Marx Brothers are supreme here, but Chapl, who, although an immigrant of the Cockney rather than the Cossacks-fleeg variety, uld play the Jewish arrival brilliantly, and the immigrant-edy ve ns right up to Phil Silvers’s Sergeant Bilko, swdlg the simpleton officers at the Army base. In rponse the edy of old-Amerin ristance to all that explosive energy, stgglg to hold on to orr and cency and gallantry. It’s exemplified by W. C. Fields’s efforts to sleep on his sleepg porch “It’s a Gift,” while the neighborhood around him ref to quiet down. The divisn extends even to the wrten humor of the perd, wh S. J. Perelman the cynil navigator and mercial participant the endls ocean of Amerin vulgary, and Jam Thurber wistfully watchg om Manhattan as the old valu of the republic pass away Columb.</p><p class="paywall">Keaton is the stoil hero of the edy of ristance, the unplag man of character who se the world of orr dissolvg around him and endur as bt he n. (In “Steamboat Bill, Jr.,” ’s the nostalgic world of the river steamboat; “The General,” is, for good or ill, the Old South.) Keaton’s characters have character. They never do anythg remotely nnivg. And the one thg Keaton never do is mug. There are moments all his bt featur, fact, that anticipate the kd of Method actg that didn’t e to fashn for another generatn, as when he impassively slips to the ground bi the girl the begng of “The Cameraman,” registerg the act of fallg love by the tit of crements. The bt thg “Steamboat Bill, Jr.” might be a b of actg so subtle that one wonrs whether people got at the time. Unr spicn of sexual stabily—“If you say what you’re thkg I’ll strangle you!” the tle rd has the pta sayg bluntly to a iend, after watchg his son per wh his ulele—Bill, Jr., is pelled by his father to throw away his Frenchified beret, and try on a sequence of Amerin hats. Keaton don’t attempt, as Chapl might have, to adopt a distct persona each hat but actually do what we do ont of a clothg-store mirror: he wears his tryg-on face, ttg a darg exprsn, samplg the athetic effect of each hat for the sake of his vany while tryg not to offend his father by seemg too much the hat athete. Somehow he is both preeng and hidg. It’s an amazg moment of pure performance, and every b as “cematic”—showg what extreme closps n do—as the big special-effects sequenc.</p><p class="paywall">“Though there is a hurrine eternally ragg about him, and though he is often fully ught up , Keaton’s nstant drift is toward the quiet at the hurrine’s eye,” the cric Walter Kerr observed of Keaton. What remas most one’s memory after an immersn Keaton are the quiet, unnny shots of him secln, his sensive face registerg his own wardns. In this way, maybe there <em>is</em> some relevance a Keaton revival today. Crics may vent their , but sometim a good cril book, or two, n create a e that unts. Chapl is a theatril master and needs a theatre to make his mark. His movi play much, much better wh an dience prent. Keaton n be a solary entertament, seen wh as much light on a puter screen as a movie palace—rather as our taste for the great humanist sacrament of the symphony pends some part on havg open ncert halls, while chamber mic has whispered right throughout the panmic. Keaton is the chamber-mic master of edy, wh the unterpot clear and unmuddied by extraneo emotn. It may be that our new clstrophobia is mirrored his old edy. The hospal has blown away, and that hoe has fallen on all. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="lbkxbt"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail 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class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/adam-gopnik">Adam Gopnik</a>, a staff wrer, has been ntributg to The New Yorker sce 1986. 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Why did reluctant acceptance turn to vlence?</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Louis Menand</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Will the Summer of Tmp Indictments Shake Up the Electn?" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Polil Scene Podst</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Will the Summer of Tmp Indictments Shake Up the Electn?</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Will the Summer of Tmp Indictments Shake Up the Electn?" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Donald Tmp received his fourth crimal dictment this week, yet Republin primary voters appear unmoved. Can anythg stop his apparent gli toward the G.O.P. Printial nomatn?</div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="What Happens if Tmp Is Elected While on Trial?" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Polil Scene Podst</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">What Happens if Tmp Is Elected While on Trial?</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="What Happens if Tmp Is Elected While on Trial?" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The fund-raisg race among the 2024 Printial ntenrs heats up as the G.O.P. ont-nner, former Print Donald Tmp, brac for a third dictment.</div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" 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