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| Our Hospitality. Buster Keaton with his wife Natalie Talmadge. |
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| Our Hospitality. Buster Keaton, Jr., Buster Keaton and Joseph Keaton. |
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| Our Hospitality. Buster Keaton. |
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| Our Hospitality. The Rocket engine, Joseph Keaton as the engineer. |
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| Our Hospitality. The Olaf Möller moment. When the donkey doesn't budge the railroad must move. |
Vieraanvaraisuutta / Ruutia, räminää ja rakkautta / Krut, kulor och kärlek / Les Lois de l'hospitalité.
US © 1923 Joseph M. Schenck Productions. PC: Buster Keaton Productions, Inc. P: Joseph M. Schenck. D: Buster Keaton, John G. Blystone. SC: Clyde Bruckman, Jean Havez, Joseph A. Mitchell. Cin: Elgin Lessley, Gordon Jennings. AD: Fred Gabourie. Cost: Walter J. Israel. Technical director: Fred Gabourie.
C: Buster Keaton (Willie McKay), Natalie Talmadge (Virginia Canfield), Joe Roberts (Joseph Canfield), Buster Keaton, Jr. (William McKay as a baby), Joseph Keaton (Lem Doolittle, locomotive engineer), Kitty Bradbury (Aunt Mary), Leonard Clapham (James Canfield), Craig Ward (Lee Canfield), Ralph Bushman (Clayton Canfield), Edward Coxen (Father John McKay), Jean Dumas (Mother McKay), Monte Collins (the parson Benjamin Dorsey), James Duffy (Sam Gardner, locomotive leader), Tom London (James Canfield), Erwin Connelly (husband quarreling with wife).
Loc: Lake Tahoe and Truckee River, California.
Premiere: 3 Nov 1923 Los Angeles.
Helsinki premiere: Piccadilly, Punainen Mylly 10.10.1924, distributor: Aktiebolaget Royal Film Osakeyhtiö – film control 12831 – S – 1706 / 1880 / 1930 / 1949 m
2019: Les Lois de l'hospitalité (Our Hospitality, 1923) a été restauré par Lobster Films en association avec Film Preservation Associates, à parti d’un contretype nitrate de la collection Blackhawk conservé à la Motion Picture Academy (Hollywood), et une copie diacétate de première génération issue des collections du Musée d’Art Moderne (MoMA, New York). La nouvelle partition orchestrale a été composée pour le film par Robert Israel, en 2018, et interprétée par le Robert Israel Orchestra. 2K DCP. In colour with a simulation of toning. 76 min
World premiere of the restoration screened at Kino Regina, Helsinki (Buster Keaton / Lobster Films), 3 Feb 2019
Revisited Our Hospitality which to David Robinson is the first of his two greatest masterpieces, the other one being The General.
Never since its first run has Our Hospitality looked as beautiful as in this new 2019 restoration which we had the privilege to access in this our opening season of Kino Regina.
Our Hospitality is one of Keaton's most beautiful films. It is a romantic film, a family film, a pastoral film and a bucolic film. It is also a film about the sublime of the nature with scenes of an exploding dam, a giant flood, mountains, precipices, and a thunderous waterfall in the final climax. All this gains immensely from the refined look of the restoration. As does the lovingly cultivated wealth of period detail.
It is also a violent account of a family feud. Willie McKay (Keaton) is the last in line in his family, and during his journey on a Stephenson's Rocket train he falls in love with Virginia Canfield (Natalie Talmadge). Only when they reach home do Willie and Virginia realize the antagonism of their families and that the only thought in the minds of the Canfield males is to kill Willie. But as long as Willie is a Canfield house guest they have an obligation to Southern hospitality.
Our Hospitality was Keaton's first mature feature film. The narrative is meaningful, the milieu is convincing, and everything connects. The story belongs to the Romeo and Juliet tradition but is constantly inventive and original.
The gags and the humoristic observations grow organically from the story and the milieu. The corner of Broadway and 42nd Street anno 1830 that looks as rural as the protagonists' homes in the South. Willie's draisine (ancestor of the bicycle). The donkey that refuses to move from the railroad.
"Blessed are the peacemakers". This is the film in which the passer-by Buster tries to act as a peacemaker in a scene of family violence unrelated to the narrative. The result: the harassed wife starts to beat Buster.
Starting with the explosion of a dam Our Hospitality turns into an action film. Among the breathtaking action scenes is the fight of a Canfield with Willie on a high mountain, both tied to each another by rope. The acrobatic stunts of their falling in turns down the high slope to the wild river are amazing.
The climax is a rapidshooting and even a logrolling sequence, familiar in Nordic cinema since Mauritz Stiller's The Song of a Scarlet Flower, but never in our countries was this motif as thrilling as here. To begin with, it is rapidshooting à deux: both Willie and Virginia fall into the river and are in danger of perishing in the waterfalls. No matter how often one sees the climax it remains breathtaking.
Our Hospitality was a family affair. For the only time Buster acted together with his wife Natalie Talmadge (this was her last film). For the only time we see three generations of Keatons on screen (see image above). "I love you, I film you" is a special and distinctive phenomenon in the cinema: directors casting their wives / loved ones in leading roles. Our Hospitality was Keaton's main contribution to this trend.
Robert Israel's approach in his new (2019) score is romantic. The music is warm and tender, and it emphasizes the emotional message of the movie. "Love Thy Neighbor As Thyself" is the motto on the wall of the Canfield living room. First it is seen in the light of brutal irony. In the finale it can be taken at face value.
The visual quality is brilliant and the colour solutions are subtle and refined.
BEYOND THE JUMP BREAK: OUR PROGRAM NOTE BASED ON DAVID ROBINSON:
BEYOND THE JUMP BREAK: OUR PROGRAM NOTE BASED ON DAVID ROBINSON:
Vieraanvaraisuutta, Buster Keatonin toinen itsenäinen pitkä elokuva, merkitsi hänen kehityksessään suurta harppausta pitkän elokuvan muodon hallinnassa. Taustana tarinalle on kahden klaanin verinen taistelu Yhdysvaltain vanhassa etelässä. Se alkaa hupaisalla junamatkalla aidosti rekonstruoidulla 1830-luvun Rocket-veturilla ja päättyy henkeäsalpaavaan kliimaksiin vesiputouksella, jossa Keaton pelastaa mielitiettyään esittävän Natalie Talmadgen hengen. Inhimillistä laveutta elokuvaan tuo sekin, että siinä esiintyy suuri osa Keatonin suvusta, myös Keatonin oikea vaimo hänen mielitiettynään (ainoassa Keaton-osassaan – Natalie ei ollut näyttelijä, toisin kuin kuuluisat siskonsa Norma ja Constance).
Keatonin kuvausryhmä lähti Vieraanvaraisuutta-elokuvan kuvauspaikoille melkein heti kun Kolme aikakautta oli saatu valmiiksi, ja elokuva tuli ensi-iltaan jo marraskuussa 1923, neljä kuukautta myöhemmin. Jean Havezin ideaan perustuva tarina sai alkunsa kuuluisan Hatfield-McCoy -riidan varsin huumorittomista tosiasioista. (Keaton antoi vihollisperheilleen nimiksi Canfield ja McKay.) Ulkokohtauksista kuvattiin muun muassaa Truckee-joen ja Tahoe-järven kauniissa maisemissa. Elokuva oli todellinen perhetarina kahdessakin mielessä, joista toinen liittyy roolijakoon. Busterin isä Joe Keaton nähdään Rocketin veturinkuljettajana, ja hänen legendaarinen, kuolettava potkunsa on ikuistettu valkokankaalle kohtauksessa, jossa hän potkaisee tutisevalta vartijalta hatun päästä. Keatonien 15 kuukauden ikäinen poika nähdään johdannossa.
Vieraanvaraisuutta on Kenraalin ohella Keatonin täydellisimpiä saavutuksia. Se on dramaturgialtaan yhtä kiinteä kuin suuren tyylin seikkailukertomus, ja sen johdanto on täysin vakava murha- ja kostotarina. Keaton, joka toisti aina vakaumuksenaan, että komedia ei saa koskaan olla ”liian naurettavaa”, omaksui samanlaisen lähestymistavan kuin Billy Wilder, joka perusteli Piukkojen paikkojen alussa nähtävän ystävänpäivän verilöylyn järkyttävyyttä sillä, että koominen kehittely tarvitsi pohjakseen riittävän suurta painokkuutta. Tuomalla heti ilmi Canfield-McKay -klaanisodan vakavuuden Keaton antaa motiivin koko juonelle.
Vieraanvaraisuutta-elokuvalle antaa laatuleiman se täydellinen dramaattinen logiikka, jolla se etenee prologista taistelevien perheiden sovintoon. Sitä ei ole rakennettu gagien ketjuksi vaan johdonmukaiseksi seikkailutarinaksi, jonka tapahtumilla on koominen sävy. Elokuvan kaikki elementit – toiminnan dramaturginen johdonmukaisuus, aikakauden rekonstruktion tarkkuus, hätkähdyttävän kauniiden ja mahtavien kuvauspaikkojen käyttö – tuovat panoksensa siihen logiikkaan ja realismiin, jota Keaton nyt tavoitteli komediansa perustaksi. Gagit ovat sitäkin hauskempia kun ne kumpuavat realistisesta tilanteesta ja kun niiden koetinkivenä on todellisuus.
Keatonin lahjakkuuden monipuolisuus käy tässä elokuvassa täysipainoisesti ilmi: hän on sekä esiintyjä, metteur en scène että elokuvantekijä. Vieraanvaraisuutta-elokuvassa Keaton kohoaa kypsän lahjakkuutensa täyteen hallintaan: elokuvantekijänä hän on yhtä varmaotteinen kuin Henry King tai King Vidor.
– David Robinsonin mukaan (Buster Keaton, 1969) AA 1990
Vieraanvaraisuutta
Ruutia, räminää ja rakkautta
Our Hospitality
USA © 1923 Joseph M. Schenck Productions. TY: Buster Keaton Productions. T: Joseph M. Schenck. O: Buster Keaton & Jack G. Blystone. KS: Clyde Bruckman & Jean Havez & Joseph Mitchell. KU: Elgin Lessley & Gordon Jennings. Tekninen suunnittelu: Fred Gabourie. N: Buster Keaton (Willie McKay), Natalie Talmadge (Virginia Canfield), Joe Roberts (Joseph Canfield). Värisävytetty. 1706/1880/1949 m /22 fps/ 68'/75'/77'
DVD: Kino International (1999).
Keatonin toinen itsenäinen pitkä elokuva oli hänen kehityksessään harppaus pitkän elokuvan muodon hallinnassa. Taustana tarinalle on kahden klaanin verinen taistelu Yhdysvaltain vanhassa etelässä. Se alkaa hupaisalla junamatkalla aidosti rekonstruoidulla 1830-luvun Rocket-veturilla ja päättyy henkeäsalpaavaan kliimaksiin vesiputouksella, jossa Keaton pelastaa mielitiettyään esittävän Natalie Talmadgen hengen. Inhimillistä laveutta elokuvaan tuo se, että siinä esiintyy suuri osa Keatonin suvusta, myös Keatonin vaimo ainoassa Keaton-osassaan (Natalie ei ollut näyttelijä toisin kuin kuuluisat Norma- ja Constance-siskonsa).
WIKIPEDIA:
Our Hospitality is a 1923 silent comedy film directed by and starring Buster Keaton. Released by Metro Pictures Corporation, the film uses slapstick and situational comedy to tell the story of Willie McKay, who gets caught in the middle of the infamous "Canfield"–"McKay" feud, an obvious satire of the real-life Hatfield–McCoy feud.
It was a groundbreaking work for the comedy film genre, as Keaton included "careful integration of gags into a dramatically coherent storyline", "meticulous attention to period detail" and "beautiful cinematography and extensive location shooting". This was a contrast to the usual slapstick comedies of this era. Turner Classic Movies describes Our Hospitality as a "silent film for which no apologies need be made to modern viewers"[1] and Roger Ebert considered it Keaton's first masterpiece.[2]
Our Hospitality is one of many works from 1923 that entered the public domain in the United States in 2019.
Plot
The Canfield and McKay families have been feuding for so long, no one remembers the reason the feud started in the first place. One stormy night in 1810, family patriarch John McKay and his rival James Canfield kill each other. After the tragic death of her husband, John's wife decides her son Willie will not suffer the same fate. She moves to New York to live with her sister, who after the mother's death raises him without telling him of the feud.
Twenty years later, Willie receives a letter informing him that his father's estate is now his. His aunt tells him of the feud, but he decides to return to his Southern birthplace anyway to claim his inheritance. On the train ride, he meets a girl, Virginia. They are shy to each other at first, but become acquainted during many train mishaps. At their destination, she is greeted by her father and two brothers; she, it turns out, is a Canfield. Willie innocently asks one of the brothers where the McKay estate is. The brother offers to show him the way, but stops at every shop in search of a pistol to shoot the unsuspecting Willie. By the time he obtains one, Willie has wandered off. Willie is very disappointed to discover the McKay "estate" is a rundown home, not the stately mansion he had imagined. Later, however, he encounters Virginia, who invites him to supper.
When he arrives, the brothers want to shoot him, but the father refuses to allow it while he is a guest in their mansion. The father refers to this as "our hospitality". When Willie overhears a conversation between the brothers, he finally realizes his grave predicament. A parson comes to supper as well. Afterward, the parson prepares to leave, but he finds it is raining furiously. The Canfield patriarch insists the parson stay the night. McKay invites himself to do the same.
The next morning, McKay stays inside the house, while the Canfield men wait for his departure. The father catches McKay kissing his daughter. McKay finally manages to leave safely by putting on a woman's dress. However, a chase ensues. He eventually starts down a steep cliff side, but is unable to find a way to the bottom. One Canfield lowers a rope (so he can get a better shot) to which Willie ties himself, but the Canfield falls into the water far below, dragging Willie along. Finally, Willie manages to steal the train locomotive and tender, but the tender derails, dumping him into the river towards the rapids. Virginia spots him and goes after him in a rowboat; she falls into the water and is swept over the edge of the large waterfall. McKay swings trapeze-like on a rope, catching her hands in mid-fall and depositing her safely on a ledge.
When it grows dark, the Canfield men decide to continue their murderous search the next day. Returning home, they see Willie and Virginia embracing; Joseph Canfield furiously rushes into the room, gun in hand. He is brought up short by the parson, who asks him if he wishes to kiss the bride. Seeing a hanging "love thy neighbor" sampler, the father decides to bless the union and end the feud. The Canfields place their pistols on a table; Willie then divests himself of the many guns he took from their gun cabinet.
Production
Some exteriors were shot near Truckee, California at the Truckee River and in Oregon. The famous waterfall rescue scene was shot using a special set at Keaton's Hollywood studio.
Although the original Hatfield-McCoy feud happened between 1878 and 1890, Keaton set his film in the 1830s. Keaton had a passion for railroads and wanted the story to coincide with their invention. Keaton had art director Fred Gabourie build fully functional replicas of trains with attention to every detail of their authenticity. However Keaton chose not to use the early US DeWitt Clinton engine and instead had Gabourie build a replica of Stephenson's Rocket because he thought it looked funnier. He also employed a dandy horse which, by the 1830s, would have been out of fashion. The traveling shots of the locomotive are clear precursors to later work on The General (1926) and were shot in the same Oregon locations.
Keaton cast his wife Natalie Talmadge in the lead role of Virginia, directing her to play her part as an old fashioned southern belle as well as an innocent schoolgirl. He also cast his father Joe Keaton as a grouchy train engineer and Joe Roberts as Virginia's father. The film was shot in Truckee, 300 miles north of Los Angeles, and was decorated to re-create Shenandoah Valley in the 1830s. The cast and crew arrived in Truckee in July 1923. They included a crew of 20 people, the fully functional locomotive, three railroad passenger cars, 30 set pieces and enough building material to build them several miles of train track. As was normal for a Keaton production, the cast and crew often stopped shooting to play baseball or fish for Truckee salmon and trout when the opportunity arose.
Roberts suffered a stroke on set during shooting. After a short hospital stay in Reno, he returned to finish his role in the film but died of another stroke a few months later. Keaton, who never used a stunt double, nearly drowned in the Truckee River while filming one of his stunts. While filming a scene in the rapids of a river his restraining wire broke and he fell into the rocky river. It took ten minutes for the crew to find him lying face down and not moving on a riverbank. He recovered but he decided to shoot the rest of the river scene on a set in Los Angeles. He also shot a waterfall scene on a set using miniature scenery. However Keaton did perform the dangerous stunt in which he swings from a rope to the waterfall. Keaton cast his fourteen-month-old son to play a baby version of him in the film's prologue. The bright film lights irritated the infants eyes and he had to be removed from the set.
This is the only film to feature three generations of the Keaton family: Keaton himself, his father Joe and his infant son. Keaton's wife Natalie was pregnant with their second child during filming, and late in the production she had to be filmed to hide her growing size.
OUR HOSPITALITY (2019) CREDITS
LES LOIS DE L’HOSPITALITE (Our Hospitality, 1923) a été restauré par Lobster Films en association avec Film Preservation Associates, à parti d’un contretype nitrate de la collection Blackhawk conservé à la Motion Picture Academy (Hollywood), et une copie diacétate de première génération issue des collections du Musée d’Art Moderne (MoMA, New York)
Scan et restauration : Lobster Films, Paris (2019)
La nouvelle partition orchestrale a été composée pour le film par Robert Israel, en 2018, et interprétée par le Robert Israel Orchestra.
Logo Lobster Films
Logo Blackhawk Films
Avec le soutien de
Logo MoMA
Museum of Modern Art, New York
**** FILM ****
END CREDIT
Musique composée et dirigée en 2019 par
Robert Israel
for Markéta
LES LOIS DE L’HOSPITALITE
(Our Hospitality, 1923)
Production
Buster Keaton Productions, Inc.
Joseph M. Schenck
Réalisation
Buster Keaton
John G. Blystone
Scénario
Jean Havez
Clyde Bruckman
Joseph A. Mitchell
Direction Artistique
Fred Gabourie
Lumières
Denver Harmon
Direction de la photographie
Elgin Lessley
Gordon Jennings
Costumes
Walter J. Israel
RESTAURATION
Lobster Films
Serge Bromberg
Eric Lange
Restauration image
Chrystel Bonne
Lucie Fourmont
Julie le Gonidec
Joséphine Paris
Colin Ruffin
Juliette Scheigam
Laboratoire numérique
François Bobinet
Alice Dusong
Maxime Laiguillon
Juliette Gallian
Charlotte Kirzin
Supervision technique
Emile Mahler
Production DVD
Antoine Angé
Vanessa Helou
Morgane Flodrops
MUSIQUE
Musique interprétée par
Le Robert Israel Orchestra
Maîtres de concert
Igor Kopyt
Vít Mužík
Responsable d’enregistrement
Vladislav Kvapil
Ingénieur du son
Zdenek Slavotínek
Montage et mastering
Petr Mlynár
SOURCES FILM
The Blackhawk Collection
The Academy of Motion Pictures Arts and Sciences (Hollywood)
The Museum of Modern Art (New York)
Un grand merci à
David SHEPARD
THE ACADEMY FILM ARCHIVE (AMPAS)
Mike Pogorzelski
Jeffery Masino
Brian Drischell
Randy Haberkamp
Le Musée d’Art Moderne (MoMA)
Rajendra Roy
Katie Trainor
Dave Kehr
Jeffrey Vance
Et toutes les Archives et collectionneurs qui conservent des films à travers le monde, et dont la passion pour le cinéma conserve notre héritage pour les futures générations.
Distribution internationale
MK2 logo
Restauration and contenus spécifiques de cette édition © 2019 by Lobster Films
Musique © 2019 by Lobster Films (p) Editions Lacharrière
Logos
Lobster films Blackhawk Moma
qui se stabilisent à l’écran lorsque le reste du déroulant disparaît. Puis fondu au noir.
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