page_title: Buster Keaton
section_title: Use of parody
hierarchical_section_title: Buster Keaton / Style and themes / Use of parody
caption_attribution_description: Español: Descripción original de la revista: "Como ustedes pueden ver, este admirable "Pamplinas" sigue tan serio como siempre... ¿Quién será, en España, capaz de hacer reir á Buster Keaton?"
context_page_description: Joseph Frank Keaton, known professionally as Buster Keaton, was an American actor, comedian, film director, producer, screenwriter, and stunt performer. He is best known for his silent films, in which his trademark was physical comedy with a consistently stoic, deadpan expression that earned him the nickname "The Great Stone Face". Critic Roger Ebert wrote of Keaton's "extraordinary period from 1920 to 1929" when he "worked without interruption" on a series of films that make him "the greatest actor-director in the history of the movies". His career declined afterward with a loss of artistic independence when he signed with Metro-Goldwyn-Mayer, his wife divorced him, and he descended into alcoholism. He recovered in the 1940s, remarried, and revived his career as an honored comic performer for the rest of his life, earning an Honorary Academy Award in 1959.
  Many of Keaton's films from the 1920s remain highly regarded, such as Sherlock Jr., The General, and The Cameraman, with The General widely viewed as his masterpiece. Among its strongest admirers was Orson Welles, who stated that The General was cinema's highest achievement in comedy, and perhaps the greatest film ever made.
context_section_description: Keaton started experimenting with parody during his vaudeville years, where most frequently his performances involved impressions and burlesques of other performers' acts. Most of these parodies targeted acts with which Keaton had shared the bill. When Keaton transposed his experience in vaudeville to film, in many works he parodied melodramas. Other favorite targets were cinematic plots, structures and devices.
  One of his most biting parodies is The Frozen North (1922), a satirical take on William S. Hart's Western melodramas, like Hell's Hinges (1916) and The Narrow Trail (1917). Keaton parodied the tired formula of the melodramatic transformation from bad guy to good guy, through which went Hart's character, known as "the good badman". He wears a small version of Hart's campaign hat from the Spanish–American War and a six-shooter on each thigh, and during the scene in which he shoots the neighbor and her husband, he reacts with thick glycerin tears, a trademark of Hart's. Audiences of the 1920s recognized the parody and thought the film hysterically funny. However, Hart himself was not amused by Keaton's antics, particularly the crying scene, and did not speak to Buster for two years after he had seen the film. The film's opening intertitles give it its mock-serious tone, and are taken from "The Shooting of Dan McGrew" by Robert W. Service.
  In The Playhouse (1921), he parodied his contemporary Thomas H. Ince, Hart's producer, who indulged in over-crediting himself in his film productions. The short also featured the impression of a performing monkey which was likely derived from a co-biller's act (called Peter the Great). Three Ages (1923), his first feature-length film, is a parody of D. W. Griffith's Intolerance (1916), from which it replicates the three inter-cut shorts structure. Three Ages also featured parodies of Bible stories, like those of Samson and Daniel. Keaton directed the film, along with Edward F. Cline.
caption: Gilbert Roland (left) with Keaton in San Sebastián, Spain, August 1930
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