The Electric House (1922) is often not considered one of Buster Keaton's better short format efforts, and the most you'll ever hear about it is how he broke his ankle during shooting. It's a shame, because I think there's a lot more to it. We may not see much in the way of Buster's physicality and grace, but we do get to see his imagination at play with the multiple contraption his character concocts for the wealthy man who hires him to modernize his mansion.The escalator stairs, dining room train set, and book shelf of doom are all charming, and its fun to see Buster's creative methods go so fabulously wrong. I'm sure you could write a paper on potential social commentary on man's over-reliance on technology, but even without all that, this is great fun and worth more praise than it receives.

This is a 1922 movie which also runs for roughly 22 minutes. Buster was in his mid-20s here and this was already at the end of his silent short film career. Once again he collaborated with Eddie Cline and was director, writer and lead actor. The supporting actors are Joe are Virginia Fox and Joe Roberts. These two worked with Leaton on several occasions as well. just like these several family members that Keaton cast in very minor roles.Our hero is instructed to install new electrical equipment in a millionaire's house while he isn't on holidays. When he returns, everything is ready, but basically nothing is working properly. Almost all the jokes here deal with malfunctions of mechanical applications, such as a swimming pool, an escalator, a model railway etc. But it wasn't really funny and some of it also became a bit repetitive such as the escalator scenes. The only really funny moment I thought was at the end when the millionaire's daughter lets out the water and the millionaire is so angry that he lets it in again. Oh yeah.. the daughter in here delivers the romance aspect, but it's almost non-existent in this film compared to other silent classics. The (attempted) suicide scene is a fine example of what Keaton made different from other silent film stars. There is always some real tragedy to his characters, even if it's still somewhat funny. It's good. It fits his physical appearance I would say. All in all, however, I would not recommend watching this one. Not one of Stoneface's finest.

What makes The Electric House such a must-see Keaton short is curiously not the showcasing of the great man himself but that of the technical prowess of his technical director Fred Gabourie. Gabourie had built The Boat and worked with Keaton since 1920's One Week, which was the one with the ingenious portable house, and he would progress with Keaton from the shorts to the features. But never were the technical gadgets Keaton used and Gabourie had to make work practically better displayed than in The Electric House. Keaton really lets Gabourie's gadgets take centre stage here and it is a chance to marvel at a master at work.In a strange way it's almost too brilliant because the laughs don't really play as well. Whereas in One Week or The Boat the gadgets and physical comedy worked in perfect harmony in The Electric House Keaton lets the film get a bit bogged down in watching the gadgets at work.Nevertheless in these days of CGI and visual cheats it is stunning to see these practical effects in full flow. Gabourie was clearly a genius, one whose name deserves to be held in the same light as practical effects masters like Willis O'Brien, Ray Harryhausen and Stan Winston.

A BUSTER KEATON Silent Short.THE ELECTRIC HOUSE Buster has just retrofitted with modern appliances is about to have a chaotic debut when some wires get crossed...One sight gag after another keeps this wonderful little film humming along. All of Buster's gadgets are funny when they operate correctly - they slip over the line into hilarity when things go wrong. Highlight: Buster trying to beat an obstinate escalator.Born into a family of Vaudevillian acrobats, Buster Keaton (1895-1966) mastered physical comedy at a very early age. An association with Fatty Arbuckle led to a series of highly imaginative short subjects and classic, silent feature-length films - all from 1920 to 1928. Writer, director, star & stuntman - Buster could do it all and his intuitive genius gave him almost miraculous knowledge as to the intricacies of film making and of what it took to please an audience. More akin to Fairbanks than Chaplin, Buster's films were full of splendid adventure, exciting derring-do and the most dangerous physical stunts imaginable. His theme of a little man against the world, who triumphs through bravery & ingenuity, dominates his films. Through every calamity & disaster, Buster remained the Great Stone Face, a stoic survivor in a universe gone mad.In the late 1920's Buster was betrayed by his manager/brother-in-law and his contract was sold to MGM, which proceeded to nearly destroy his career. Teamed initially with Jimmy Durante and eventually allowed small roles in mediocre comedies, Buster was for 35 years consistently given work far beneath his talent. Finally, before lung cancer took him at age 70, he had the satisfaction of knowing that his classic films were being rediscovered. Now, well past his centenary, Buster Keaton is routinely recognized & appreciated as one of cinema's true authentic geniuses. And he knew how to make people laugh...