{"id":1107,"date":"2005-05-19T10:03:50","date_gmt":"2005-05-19T17:03:50","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2005\/05\/buster_keaton_revisited_1\/"},"modified":"2005-05-19T10:03:50","modified_gmt":"2005-05-19T17:03:50","slug":"buster_keaton_revisited_1","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2005\/05\/buster_keaton_revisited_1.html","title":{"rendered":"BUSTER KEATON REVISITED"},"content":{"rendered":"

There’s a new
\nbook<\/FONT><\/B><\/A> out about Buster Keaton, which I reviewed a couple of Sundays ago. If
\nyou’re interested, go here<\/FONT><\/B><\/A> or here<\/FONT><\/B><\/A>. Some of what I wrote went thisaway:
\n

<\/P>
\n


\n

<\/A>Like Welles, though in an earlier time and on a different
\nscale, Keaton was a master filmmaker whose creativity was leached out of him by small-minded
\nproducers who at first recognized his genius, then proceeded to undermine him by jealously
\nforcing him to conform to a studio system dominated by businessmen uninterested in his art. It’s a
\nfamiliar story, common to any number of Hollywood’s great filmmakers from Erich von Stroheim
\nto Francis Ford Coppola. But Keaton’s story is particularly affecting because of the size and
\nversatility of his achievement, and how far he fell from his peak of success.<\/BLOCKQUOTE>
\n

<\/P>
\n

I wish I’d liked the book, though.<\/p>\n","protected":false},"excerpt":{"rendered":"

There’s a new book out about Buster Keaton, which I reviewed a couple of Sundays ago. If you’re interested, go here or here. Some of what I wrote went thisaway: Like Welles, though in an earlier time and on a different scale, Keaton was a master filmmaker whose creativity was leached out of him by […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1107","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-hR","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1107","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1107"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1107\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1107"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1107"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1107"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}