Film #176 - Spite Marriage (1929)
Spite Marriage is Buster Keaton’s second film for MGM and his final silent feature. He had, in fact, wanted to make this film as a talkie (he was very enthusiastic about sound), but was overridden by studio honchos. This film marks the true transition for Keaton, as the studio began taking full control of production. While he was able to maintain a certain amount of independance with The Cameraman, here the studio fired most of his crew and forced Keaton to use studio writers, crew and even to live on the studio lot. The result is a compromised film, but still a great one. While it doesn’t reach the classic status of The Cameraman or Keaton’s pre-MGM work, it’s still a wonderful comedy and a fitting end to Keaton’s silent era.
The story finds Keaton in the role he so often filled: that of a lovable loser. Here he plays Elmer Gantry (a play on the then-recent literary character), a humble worker in a dry cleaning establishment who idolizes stage actress Trilby Drew (Dorothy Sebastian). She, in turn, is carrying a torch for fellow actor Lionel Benmore (Edward Earle). When he spurns her for the younger Ethyl Norcrosse (Leila Hyams), she impulsively asks Elmer to marry her, only to regret it almost immediately. Her handlers extricate her from the marriage and when Elmer finds himself first in the hands of criminals and then at sea, he is more than happy for the opportunity to forget her. But a series of coincidences throw Elmer and Trilby back together again and she will have cause to re-evaluate her opinion of him.
This is the last time we see Keaton in real control of the outcome of a film. While much of the production was taken out of his hands, he still decided what to do with the script and how to use the assets put at his disposal. With the next, Free and Easy, he would essentially become just an actor in the system. (But more on that disaster another day.)
Spite Marriage is a clear example of a quality cast triumphing over substandard material. The most obvious example (besides Keaton) is Dorothy Sebastian. She shows that she is more than a match for Keaton’s strong onscreen persona. She grabs the screen whenever she is on it and she clearly has a grasp on what Keaton is trying to do. There is one scene in particular where Elmer tries to get a drunken, passed-out Trilby to bed and Sebastian’s ability to go along with all the crazy stuff Keaton does is a testament to her devotion. (And not just to the film, Keaton and Sebastian apparently began a long affair around this time.)
Everyone else is pretty much a caricature, but they carry them off well enough. Edward Earle is just slimy enough as the egotistical actor who plays with Trilby’s affections. When Elmer hauls off an punches him, it’s very satisfying. The various crooks also throw themselves into their roles, particularly in the big fight scenes.
The plot of the film isn’t the strongest, but carries the action well enough. It give Keaton an opportunity to play to many of his strengths, including his athleticism, one of the last films to do so. And despite the lack of a strong story, the bits within that story are solid. A recuring hat-related riff is even used at the end to give the film puch right at the conclusion. Keaton famously re-worked many of the gags from this film for the Red Skelton vehicle I Dooed It and it’s easy to understand why as they are classic visual bits.
No, Spite Marriage is not Keaton at his best. But it’s still Keaton in control and that means quality. Throw in some inspired gags, a decent budget and the transcendant performance from Dorothy Sebastian and there’s plenty to recommend.