happy buster


Because he was funny, because he wore a porkpie had, Keaton’s physical skills are often undervalued … no silent star did more dangerous stunts than Buster Keaton. Instead of using doubles, he himself doubled for his actors, doing their stunts as well as his own - Roger Ebert

All my life, I have been happiest when the folks watching me said to each other, “Look at the poor dope, will ya? - Buster Keaton

Happy 120th Birthday, Joseph Frank “Buster” Keaton (October 4, 1895 – February 1, 1966)

Colored BK by historyincolour (x)

Uh… Hello

Happy Belated Birthday to Pete! @tvoom @thevortexofourminds

I had this birthday tribute in my head for a while (curses!) for Pete since I ran out of recent foggy forest photos that I know he does appreciate. I must say that this recreation of the Buster Keaton photo was a lot more difficult that it appears. Not only did I have to try and recreate this pose with my 10-second timer (plus the all the set-up), but this outdoor photographer had to figure out indoor lighting and camera flash (curses! x2). I honestly did not know how to activate the flash on my camera and then to figure out auto-flash from slow and then rear… who has all this time?! …but I was committed to finishing this photo for Pete since he does so much for the Tumblr community and is very gracious with sharing his photography knowledge and tips! Have a super birthday Pete! 

Note to self: Next year just pour a can of Pepsi into a Coke bottle… way easier… and Pete will still appreciate it! 

Note to everyone else: I’m tagging this as #BustonKeatonPlankChallenge in case anyone else wants to try and recreate this iconic pose! Good Luck ;-) 


Happy Birthday Buster Keaton!!  (October 4, 1895 - February 1, 1966).

Thank you for your incredible stuntwork throughout your career…

Part 1


“[Singing lullabies] is my wife’s job. I read out stories to them instead. After all, I don’t want them to get nightmares. If at all, THEY sing lullabies to me. Roles are switched at our home: They don’t listen to me making music, but I listen to them. My son plays the drums, my daughter sings. Only if one of our videos is on TV they all jump up and dance through the room. Very funny.”

Most memorable Buster Keaton performances (1920-1929)

Originally posted by my-life-without-me

To commemorate the 122nd birthday of my favorite filmmaker, I decided to list my five favorite silent-era performances of his. Keaton is often praised as a director, editor, and stuntman, but I feel even now, his acting is underappreciated. He was hardly emotionless, but rather an actor whose characters kept their feelings in reserve, with only those big, expressive eyes revealing the soulfulness and intelligence that kindled beneath the seemingly placid surface.

These are presented in no particular order—well, other than chronologically.

Evil Buster (The Frozen North, 1922)

Co-star Bartine Burkett once said no one could possibly ever be frightened of Buster or find him threatening—and I’m not going to argue that here. But damn, if The Frozen North (and Le Roi de Champys-Elysses) is anything to go by, he could be such an entertaining bad guy! TFN is one of Keaton’s less-accessible films for modern audiences, mainly because it’s so rooted in the popular culture of the early 1920s, with him lampooning Bill Hart and Erich von Stroheim’s anti-heroes/villain characters. Like Hart, he’s a tough guy. Like von Stroheim, he’s a would-be seducer. But unlike either, he’s also bumbling and rather inept at the whole villain thing, making his teeth-clenching ways all the more entertaining.

And as always, evil Buster is my kink.

The Boy/Sherlock Jr (Sherlock Jr, 1924)

Sherlock Jr. is a movie all about the divide between reality and screen-fantasy, so here Keaton plays both a down-on-his-luck projectionist and the suave, badass detective he imagines himself to be in his cinema-inspired dreams. As the projectionist, Keaton is an awkward everyman, dreaming of action and love while being quite passive in some ways. The opposite is true of his hyper-competent screen self, a charming sleuth who always knows what to do. As with his later Go West, Keaton is being gently satirical, making fun of movie conventions while showing just why they’re so appealing. That knowingness comes through his performances as well. While most praise likely goes to the showier role of Sherlock Jr, he is so charming as the Boy, especially in regards to how the character looks to the movies for wooing pointers. Keaton’s eager attention to the screen antics of his heroes does not make us feel that the projectionist is a loser; rather, we see ourselves in him.

Alfred Butler (Battling Butler, 1926)

Alfred is a prime example of one of Keaton’s favorite protagonist types: the helpless young aristocrat who develops resourcefulness and courage through a misadventure. However, Alfred may be the best rendition of this archetype, as he goes through quite the emotional wringer in Battling Butler (which gets my vote for Keaton’s most underrated movie). He falls in love with a tomboy from a rough-and-tough family and goes through an elaborate charade to make himself seem more macho than he is, despite the fact that the young woman loves him for being him. Alfred’s character arc is great: he goes from being a passive gentleman to a gentleman who will defend his friends with violence if need be, though unlike the villain, he does not revel in violence. In fact, he’s rather horrified by it! Nevertheless, he learns to stand up for himself, making the last five minutes of the movie a matter of immense emotional satisfaction.

Johnny Gray (The General, 1926)

Out of all of Keaton’s protagonists, Johnny is the most dashing: long hair, billowy shirt, heroic, intelligent, probably has a sexy southern accent. SWOON. But fangirlish drooling aside, Johnny is a great character, a blend of action hero and clown. He’s never really a parody of the conventional leading man hero; at least, his performance is not broad enough to be called parody. Keaton’s character takes the story and the events in the story too seriously for that. Though Johnny has his bumbling moments, Keaton endows him with a sense of dignity and intelligence that makes him admirable. Critic Tim Brayton said it best in regards to Keaton’s performance: “There’s a lot of slapstick, and a lot of situational humor that are made all the better by the actor’s incomparable discipline, refusing to mug for added yuks when simply inhabiting the role and playing it honestly and as straight is both funnier and more human.”

But really, that hair, y’all <3

Buster the cameraman (The Cameraman, 1928)

In The Cameraman, we see Keaton at his most vulnerable. He plays a lonely tintype operator who upgrades to freelance street cameraman when he falls for a pretty, sweet employee of MGM’s newsreel division. While Keaton’s heroes are often soulful, they often keep their feelings in reserve. Not here: the scene where Buster, believing he’s lost the woman he loves forever, sinks to his knees in despair without shedding a tear, is one of the saddest moments in all silent film. Keaton’s performance in The Cameraman is probably the most openly emotional of his career, yet true to his understated style, it is never sappy or maudlin.


Remembering Donald O’Connor on his 92nd Birthday 🌹

A tribute to an amazing actor, dancer, singer, composer and choreographer …. a real entertainer🌟

Born on August 28, 1925 as Donald David Dixon Ronald O’Connor in Chicago, Illinois

Died on September 27, 2003 in Los Angeles/Woodland Hills, California

“I can picture things, like a painter would, though I’m not good at painting, either. But in terms of framing people, the basic idea for a routine, the continuity … that I can do.”

A very long time ago, when I was a child, a handsome Irish man stole my heart away ! The first time I “met” him, he was perfectly dancing on the screen and putting so much joy and passion into it! Over the years, I’ve learned to love him more and more. At first, because of his personality, modesty, the sometimes painful beauty of imperfection he struggled and, finally, coped with in real life. Besides, he never forgot where he came from. This wonderful guy will always have a place in my heart!

Love you, Donald 💋 … have fun while dancing among the stars🌟tonight! I’ll look out for shooting stars …

“I grew up in vaudeville. All the hoofers used to get together in a drugstore down the street from the theater, or what-have-you, and if they knew a new step they would teach it to you. I learned hoofing steps that way. But going into ballet didn’t come until I made those pictures with Kelly.” 

“It wasn’t until I worked with Gene Kelly and Bob Alton [Robert Alton, choreographer for ‘I Love Melvin’ and 'Call Me Madam’] that I started to dance as, what I called, a total dancer … that I started dancing from the waist up, using my arms, my hands, and synchronisation in that way.” 

“My brothers and my mother were all dancers, outside of whatever else they did, like acrobats, high-wire, trapeze. I was born in a circus.”

“I’ve still got to find a place in life as a human being, not a machine … I’m no angel. I’m the same as everyone else … I’m subject to fever and headaches and bad temper just like anybody else.”

“I’m the guy who danced through life. It seems that no matter what I do, if I did MacBeth, they’d want me to do eight bars of "Tea For Two” just because it pleases. It’s the kind of dancing I do - jumping around and having a good time. It’s happy, gay, and pleasant. Dancing is so wonderful. Once they start the music, your whole day, if it’s been rotten, seems to melt away. You get carried away in the tune that you’re moving to. It’s a marvelous catharsis … to be able to get on top and tap dance.“

“Sometimes I wish I’d been managed better …”

~ Donald O’Connor ~

"Donald O'Connor was one of the most talented, gifted, personable people in our business.”  

~ A. C. Lyles, producer for Paramount Pictures and a close friend of the O'Connor family ~

“The number was his own and nothing was imposed on him, except for the finish. I wanted him to do the trick that he had done as a little boy in vaudeville. So we got his brother over to rehearse him with a rope to get his confidence back and then to break through the wall at the end. The rest was all his, and it was unbelievable.”

~ Gene Kelly about Donald’s immortal “Make ‘Em Laugh”. Besides, Gene named him respectfully “The O'Connor”. ~

“And for sheer joy there is the riotous “Make 'Em Laugh” song-and-dance interlude by Donald O'Connor in which the likeable young performer almost slays himself and the audience with his nimble footwork. The only complaint about O'Connor is that the more you see of him the more you want.“

~ Excerpt from “The Hollywood Reporter’s” review of “Singin’ In The Rain”, published on March 12, 1952 ~

"I’ve always admired the dancing style of Donald O'Connor, and was lucky to meet him once during my tap dance training in New York in the mid 1990s. Such a lovable guy and his performance on stage … even in his early seventies, he was still so amazing!”

~ Cristina, my wonderful tap coach 💋 and an excellent dancer herself ~


~ Vicki Baum, Austrian writer and musician ~

GIFs are primarily made from a wonderful tribute by Esther O’Reilly posted on Vimeo. ➡ Please click here (X) , it is absolutely worth watching the video!

@veritasfilia: One GIF is made from your lovely tribute, you’ll know which one 😘!Please also watch this video on Youtube (X), folks! You’ll love it, too!