Mistaken for a notorious criminal Buster Keaton takes it on the lamb in The Goat. With the cops in close pursuit the heat is on from start to finish and Keaton keeps things moving at a brisk pace throughout by coupling scenes in a smooth transitional flow.
We first encounter Buster in a breadline where he is stymied by a couple of mannequins. From there our curious flaneur manages to get his mug on a wanted poster and the attention of the local force including the police chief whose daughter he picks up along the way.
Keaton's clever antics include scenes with an elevator, a clay sculpture monument and a magnificent entrance on one of his favorite go to props, a locomotive. With exteriors shot outside on city streets the film has a more panoramic look than a two set studio short allowing Keaton more freedom to create his material and stretch the chase without ever breaking rhythm. Definitely one of his best shorts.
We first encounter Buster in a breadline where he is stymied by a couple of mannequins. From there our curious flaneur manages to get his mug on a wanted poster and the attention of the local force including the police chief whose daughter he picks up along the way.
Keaton's clever antics include scenes with an elevator, a clay sculpture monument and a magnificent entrance on one of his favorite go to props, a locomotive. With exteriors shot outside on city streets the film has a more panoramic look than a two set studio short allowing Keaton more freedom to create his material and stretch the chase without ever breaking rhythm. Definitely one of his best shorts.