Buster Keaton on Television
December 22, 1949 is a cherished date, or ought to be, for fans of classic comedy, vaudeville, and Buster Keaton. It was on that date that Buster made his television debut on The Ed Wynn Show, where, among other things, he re-created his first movie appearance, which had been in Fatty Arbuckle’s The Butcher Boy (1917).
To correct a misconception, Keaton had never stopped performing. His longest…
View On WordPress
13 notes
·
View notes
Hey friendos!! This is my latest episode of Meanwhile, Back at The Ranch, where I share several pieces of exciting news, most especially, that my book Another New World, about Buster Keaton and the people in his orbit, will be available November 25th, 2023!! Make sure to share the news with all your Buster Buddies!!
2 notes
·
View notes
A lot of people don't realize that Michael had certain dance moves that were only reserved for certain numbers. Both the moonwalk and en pointe are uniquely associated with "Billie Jean." And though Michael did variations of the moonwalk step in other numbers, the famous backwards glide was reserved exclusively for "Billie Jean."
Notice how he plays with the audience as he slowly pulls out the black glittery jacket, then the fedora, and then....dramatic pause...the glove. And the roar from the crowd grows louder as each piece appears, so by the time he's fully in costume, they're on their feet and clapping wildly. It's like the act of becoming that character is part of the performance.
Getting into character becomes a part of the ritual for the audience, such as the "Billie Jean" persona or character. It was clear early on that Michael was not so much performing here, as enacting a role. It was a unique character that he created specifically for this number.
It was obvious that the roots of this character came from his adoration of Charlie Chaplin and Buster Keaton. For example, compare Michael's improv segment of "Billie Jean" to Chaplin's "Little Tramp" character, and there are obvious parallels, a certain jauntiness mixed with pathos that comes through for both of them.
The "Smooth Criminal" lean owes a lot to Buster Keaton's move in "College."
Years later, Johnny Depp, who also admired Keaton and Chaplin and brought elements of both of them to his own performances, blended the characteristics of both to create the character of Sam in 1993's Benny & Joon.
In later years, Michael would make this parallel more blatantly obvious. For example, by the time of the HIStory tour, he introduced a new element to the performance which consisted of his "Little Geek" character walking on stage carrying a shaving case, looking rather lost and bewildered, as if he doesn't quite know where he is or what he's supposed to do.
This is a routine that has deep roots in the pathos of the Chaplinesque and Keatonesque personas he so admired. The performance has very much of a vaudeville feel to it. Even the case itself feels worn and antiquated.
In "Say Say Say," he and Paul McCartney play a pair of vaudeville performers, and they each carry that exact same style of case.
There's an element of miming incorporated into his "Billie Jean" persona. Chaplin and Keaton were both heavily influenced by mimes themselves.
For example, in his 1988 Grammy performances of "The Way You Make Me Feel" and "Man in the Mirror," he creates a fully realized character in the opening moments on stage. A guy that Rembert Browne coined "Tough Guy Mike." Every step becomes an aggravated kick, everything was to be pointed to, and his neck roll became the sassiest thing ever captured on camera.
He created this character through body language and mime like gestures, such as smoking a fake cigarette, blowing out fake smoke and then putting it out with his foot. Through these subtle gestures, he gives us important clues about who this character is - just as Charlie Chaplin or Buster Keaton or Marcel Marceau did through their silent gestures long before him.
Michael also mimicked the age-old mime trick of using the color white to focus on whatever body part he wanted to be focused on. The primary colors black and white both have strong ties to mime art.
White gloves were also an important feature of blackface minstrelsy. Fred Astaire performed blackface in the movie Swing Time, wearing large white gloves.
5 notes
·
View notes
Watch "What Judy Means at Christmas - a casual chat." on YouTube
Here is our Christmas podcast. Unfortunately Carly couldn't make this one. We don't usually film if all three of us aren't available but this was one we were unable to shuffle due to the timing etc. It wasn't the same without Carly and this is dedicated to her, but we hope that you still enjoy it.
6 notes
·
View notes
currently reading about natalie and buster's divorce proceedings and i'm just like. "dump his ass, natalie, i got yo flower"
1 note
·
View note