Sherlock, Jr.

Director: Buster Keaton
Year: 1924
Country: USA
Running time: 50 mins
USA
Production Co.: Buster Keaton Productions
Distrbutor: Meto Pictures
Presented by: Joseph M Schenek
Story: Clyde Burckman, Jean Havez, Joseph Mitchell
Photography: Byron Houck, Elgin Lessley (B&W)
Technical Director: Fred Gabourie
Costumes: Claire West
35mm

Cast
Sherlock, Jr.: Buster Keaton
The girl: Kathryn McGuire
The rival: Ward Crane
The father: Joseph keaton
Horace Morgan, Jane Connelly, Erwin Connelly, Ford West, George Davis, John Patrick, Ruth Holly

1993 New Zealand Film Festival Live Cinema. Print from the Rohauer Collection. Piano accompaniment by James Allington.
The title of this Buster Keaton comedy doesn't do justice to what the movie is about: Keaton plays a projectionist who , while running a movie - "Hearts and Pearls" - enters the screen and becomes involved with the characters. Directed by Keaton, it's a wonderfully imaginative film, full of extraordinary tricks so immaculately executed that they look simple. It's a piece of native American surrealism. — Pauline Kael

… boiling along on the handle bars of a motorcycle quite unaware that he has lost his driver, Keaton whips through city traffic, breaks up a tug-of-war, gets a shovelful of dirt in the face from each of a long line of Rockette-times ditch-diggers, approaches a log at high speed which is hinged open by dynamite precisely soon enough to let him through an hitting an obstruction, leaves the handlebars like an arrow leaving a bow, whams through the window of a shack in which the heroine is about to be violated, and hits the heavy feet-first, knocking him through the opposite wall. The whole sequence is as clean in motion as the trajectory of a bullet. — James Agee, Life, 3/9/49

…Buster's exquisite 8 1/2, a comical and lyrical comtemplation of the film medium by a master of its magic. Among its famous set pieces are the haunting walk from the projector to the screen, the series of forground-backround jokes of breathtaking sophistication, and the pungent analysis of physical gags before they are performed. Yet amid all the self-conscious aestheticism and convoluted Pirandellianism, the caper-fantasy plot of Sherlock, Jr. merrily rolls along at a hectic pace. What is truly astonishing is the facility with which keaton can shift gears from his narrative to slapstick track. — Andrew Sarris, 28/5/85