Spite Marriage
Spite Marriage is a 1929 American silent comedy film co-directed by Buster Keaton and Edward Sedgwick and starring Keaton and Dorothy Sebastian. It is the second film Keaton made for MGM and his last silent film, although he had wanted it to be a "talkie" or full sound film. While the production has no recorded dialogue, it does feature an accompanying synchronized score and recorded laughter, applause and other sound effects in some scenes. Keaton later wrote gags for some up-and-coming MGM stars like Red Skelton, and from this film recycled many gags, some shot -for-shot, for Skelton's 1943 film "I Dood It". Plot. Elmer, a humble worker in a dry cleaning establishment, idolizes stage actress Trilby Drew (Dorothy Sebastian). She, in turn, is carrying a torch for fellow actor Lionel Benmore (Edward Earle). When Lionel spurns her for the younger Ethyl Norcrosse (Leila Hyams), she impulsively asks Elmer to marry her. Her handlers extricate her from the marriage, and when Elmer finds himself first in the hands of criminals and then at sea, he is happy for the opportunity to forget her. But a series of coincidences throw Elmer and Trilby together  again, and she has cause to reevaluate him. Production. In its September 12, 1928 issue, the widely read entertainment paper "Variety" announced, "Buster Keaton's next, 'Spite Marriage', will also have dialog", while "Exhibitors Daily Review" also reported the same day that "Buster Keaton will do his initial speaking in 'Spite Marriage'". Despite those announcements by popular, well-connected trade publications, the film was destined from pre-production to be a silent offering from MGM, at least one without any recorded dialogue. The studio's head of production, Irving Thalberg, opposed Keaton's plans to make the film his first  talkie. Thalberg had both financial and technical reasons for rejecting any proposals by Keaton or others to apply full-sound to the planned comedy. For one, in the fall of 1928, during that transition period into sound, MGM had at its disposal only one set of recording equipment. Secondly, but more importantly, MGM's executive believed that adding the complications and expense of such a new technology to Keaton's film would significantly increase overall production costs, especially for a performer like Buster whose creativity thrived on "time-consuming improvisations" and a high degree of flexibility while shooting. Thalberg therefore  insisted on technical simplicity and close script and set supervision of Keaton's second project for the studio to reduce delays and to increase potential profits for the final product. According to the American Film Institute's catalog, production work on the film started on November 14, 1928, a date generally consistent with a November 27 report in "Exhibitors Herald and Motion Picture World", which announces that Keaton began work on the film "last week". News updates about the film in 1928 trade publications indicate that casting was still being finalized in the latter half of November. "Exhibitors Daily Review  announced on November 16, Dorothy Sebastian has been given the feminine lead opposite Buster Keaton"; and on November 23, "Edward [E]arle is playing the heavy in Buster Keaton's picture, 'Spite Marriage.'" A week later, "The Distributor", a paper published by MGM's sales department, confirmed that the studio had assigned Leila Hyams a "big part" in "the forthcoming Buster Keaton vehicle" in part due to her "distinct success" as a lead in the studio's recent crime drama "Alias Jimmy Valentine", which had been released just two weeks earlier. The studio publication in the same news item also confirmed  that Sydney Jarvis and Hank Mann had joined the cast, although their roles would be uncredited on the screen. Reception. "Spite Marriage" in 1929 was generally very well received by critics in leading newspapers, by reviewers in the film industry's major trade journals and papers, as well as by moviegoers. The influential critic for "The New York Times", Mordaunt Hall, comments about the audience's response to the comedy in his assessment of the film. He notes that Keaton created "a state of high glee" in the Capitol Theatre in Manhattan, where Hall attended the comedy's premiere on  March 25, adding "there were waves of laughter from top to bottom of the house." Abel Green, the editor and reviewer for "Variety", characterizes Keaton's production as "replete with belly laffs" and also describes the Capitol's audience being in "hysterics" and "mirthful" while watching it. While Green does express some reservations about what he viewed as several of the film's implausible situations and its "mechanized" structure, he predicts nothing but financial success for the "enjoyable low comedy glorified slapsticker." The trade paper "The Film Daily" rated the MGM feature as "the funniest film released in months". In  its March 31 review, the paper praises the film and draws special attention to Sebastian's performance: After seeing a preview of "Spite Marriage" weeks before its premiere in New York, reviewer Walter R. Greene of the trade journal "Motion Picture News", praised the feature even more than "The Film Daily", judging Keaton's work to be not only his best film "since he graduated from the two reel ranks" but also "one of the best pieces of comedy business ever developed in a picture". Comparing "Spite Marriage" to Charlie Chaplin's "The Gold Rush" (1925), Greene in his review  states, "The picture is packed with laughs" and reports that the sequence in which Keaton puts his intoxicated wife to bed evoked from the audience "a continual roar for over half a reel." "Photoplay", the nation's leading movie-fan magazine of the period, only added to the accolades and endorsements that the film received in 1929. In its April issue, the magazine labels the film "hilarious", "intense", and "Chaplinesque". Then, in May, "Photoplay" provides another, more succinct review to its large readership: "One of the best Buster Keaton has made, with Dorothy Sebastian excellent. Don't miss." Spite Marriage