The Saphead is a rarity in Buster Keaton's filmography. It is a silent feature film that Buster had little to no creative control over. As many of you know during the silent era, Buster was very much in charge of most of his films and even if others worked on them, Buster was the main creative force. This changed during the talkie era, when working for MGM and other studios, he found himself often employed as an actor rather than a filmmaker.
In this film, Buster plays Bertie Van Alstyne, the son of millionaire Nicholas Van Alstyne (William H. Crane). He is in love with his adopted sister Agnes Gates (Beulah Booker). He spends all night out gambling and partying thinking that it will win her heart. However instead his father disowns him. His father gives him one million dollars, throws him out of the house and tells him that he can't marry Agnes until he makes something of himself.
The storyline of this film is mostly simply melodramatic fluff. If you watch enough silent movies, there is nothing here that you haven't seen before and there are times when it can feel like a filmed play. However, these is still quite a bit of fun to this movie. It is clever how various parts of the storyline come together and there is quite a bit of fun to be had in the movie's melodramatic trapping. The climax is legitimately exciting allowing Buster to show off his physical agility. Despite the rest of the film being rather slow paced this climax moves at a very fast pace and features all the great silent action one could want from a Keaton feature. If it wasn't for Buster Keaton, this would be just another enjoyable but not especially memorable melodrama of the time period. However, adding Buster Keaton to the proceedings makes this a must watch for movie lovers. Buster is excellent in this straighter role as he brings his unique charm and likability to this rather standard role. Of course, for movie buffs it is also fascinating to see Buster Keaton in such an unusual role for him, making one wonder if Buster could have been successful as a dramatic actor. That fact that this was Buster's first feature length movie also adds some historical importance and enjoyment for movie lovers. This may be more of a curio than a great film, but it is a delightful little curio.
Buster began his movie career (after being on stage since early childhood) working with the popular screen comedian Roscoe "Fatty" Arbuckle. He appeared alongside Arbuckle in many of Roscoe's greatest short films. Over the course of working with Arbuckle, he began to be an important asset to Arbuckle behind the camera as well as in front of. When Arbuckle moved to feature films, producer Joseph Schenk would sign Keaton up for his own series of comedy shorts. At the same time Schenk would also assign Buster to a very unexpected role, a feature film adaption of a popular Broadway play. It was on good recommendation that Buster was offered the role. The Broadway play starred none other than Douglas Fairbanks, who personally recommended that the role went to Buster Keaton. The short films that Keaton would start making after Arbuckle went into features would be pure unadulterated Keaton, showing his filmmaking genius at its fullest. On the other hand, what amounted to Buster's first feature film had the comedian employed strictly as an actor, giving him no say in the story or filmmaking. This film ended up reaching theaters before his more Keaton-esque shorts making this the first-time movie audiences saw Buster in a lead role.
The directors of this film were Herbert Blaché and Winchell Smith. Herbert Blaché is probably best known today for having been married to the legendary early cinema director Alice Guy Blaché. His own directing credits include The Song of the Wage Slave (1915), A Prisoner in the Harem (1913), The Million Dollar Robbery (1914) and The Divorcee (1919). The Divorcee starred none other than Ethel Barrymore. This movie marked the only screen directorial credit for Winchell Smith. Smith was however a very successful playwright whose plays included Brewster's Millions, Lightnin', The Last of Mrs. Cheyney and Waterloo Bridge. He also co-wrote the play The New Henrietta, upon which The Saphead was based.
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The New Henrietta was a play with an interesting history. In 1887, playwright Bronson Howard's play The Henrietta hit the stage. It became very popular with both critics and audiences and was hailed by many as the playwright's masterpiece. The play had such a charm over those who had seen it that in 1913, it would receive a modern updating. This new play would be called The New Henrietta and would be written by Winchell Smith and Victor Mapes. Mapes was a playwright and novelist, who also co-wrote the play The Hottentot with Smith. This new play would feature original actor William H. Crane reprising the role of Nicholas Van Alstyne and Douglas Fairbanks in the role of Bertie. Before The Saphead Douglas Fairbanks had previous been in a very loose film adaption of the play entitled The Lamb (1915). In 1919 Fairbanks became interested in bringing a more faithful adaption to the screen. Fairbanks brought Winchell Smith over to direct this film version as well as writer June Mathis to help write the screen play. He planned to bring much of the play's cast to this movie version. This however took longer than expected and Fairbanks grew less interested in the picture, especially as he began work on The Mollycoddle (1920), a more typical Fairbanks action film. It was then Marcus Loew purchased the property from Fairbanks as well as Winchell Smith, June Mathis and original Broadway actor, William H. Crane. At this time Loew was the head of Metro Pictures Corporation, who distributed Joseph Schenk's films.
Upon its release critics praised Buster Keaton's performance but were less fond of the often-melodramatic storyline.
In Jim Kline's 1993 book, The Complete Films of Buster Keaton, the film historian writes, "Unlike Fairbanks [in The Lamb], Buster us totally convincing both as sheltered Milquetoast and as a spirited dynamo. His vaudeville experience, where he was not only exposed to an endless variety of acting styles but also played several assorted parts himself, gave him the resources to adapt to the role, Seeing Keaton create a fully developed screen character, knowing that for the previous three years he had been indulging in roughhouse slapstick with Arbuckle, is a revelation, proving that Buster was a gifted actor as well as a superb comedian. Like Fairbanks, he was fond of the Bertie character and based many - arguably all - of his feature film portrayals on this type, one who appears weak and dim-witted at first but becomes the strongest, most resourceful and dynamic figure of all."
Despite this Buster wasn't as sure about how well he fit the role. In an interview with the Los Angeles Times, Buster would state, "Don't know why they chose me for the part anyhow. Only I've got a blank pan. Saw a nice, fluffy pie on the set the other day that would have looked good on the hero's face, but he got away just in time. Winchell Smith watches me all the time. He's the author and is afraid I'll do something all wrong. I had to be shaved in a scene the other day, and Mr. Smith was scared to death. He thought I might try to get funny and eat the soap! Mr. Smith certainly does worry about me."
Here is an exhibitor's review from a 1921 issue of Exhibitors Hearld. "The Saphead, with Buster Keaton. - Play not so much but Keaton's 'never smile' role was thoroughly enjoyed. - Giacoma Bros., Crystal Theatre, Tombstone, Ariz. - General Patronage."
The following is an article from an issue of Motion Picture News dated January 8, 1921. "Along with 'The Saphead' the only feature film Buster Keaton ever made, exhibitors have also played a Keaton two-reeler. These exhibitors report phenomenal success states Metro. The owner of the Broadway theatre, Springfield, Mass, was the first to see the advantages of playing the Keaton and the William H. Crane feature along with a Keaton comic two-reeler. The success attained through a tremendous box office showing attracted the attention of other exhibitors, who have also seen fit to play 'The Saphead' along with a Keaton short film. At Loews Stillman in New York, and again in Cleveland, 'The Saphead' and 'The Scarecrow' were teamed to furnish the entertainment for the week. In each instance the receipts were tremendous, declares a message from Metro headquarters."
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| Who's Who on the Screen, 1920 |
For anyone interested in watching this film, you can do so below on YouTube. The movie is also available on a Kino DVD and Blu-ray that also includes two classic Keaton shorts.
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| Who's Who on the Screen, 1920 |
Resources Used
Buster Keaton: A Filmmaker's Life by James Curtis,
The Complete Films of Buster Keaton by Jim Kline
https://www.tcm.com/tcmdb/title/499859/the-saphead#articles-reviews?articleId=430503
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