Sieben Chancen

Die Verfolgung durch eine Masse von fanatischen Bräuten, die heiraten möchten (der Höhepunkt ist eine Steinlawine), ist monumental und sie kommt der Verfolgungsszene aus dem Film Buster Keaton: Buster und die Polizei in jeder Hinsicht gleich. Dort wird Buster Keaton von Polizisten gejagt. Sie ist eigentlich noch verrückter als die erwähnte Szene. Wo sonst kann man Bräute sehen, die eine Straßenbahn oder einen Schienenkran, an dem der arme Hauptheld hängt, entführen? (05.11.2014)

Buster Keaton amazes me beyond belief. Not just in the way he can walk through his films stone-faced, but more importantly in the way he divides everything in his films. These stunts are truly incredible. The avalanche scene is just awesome. Why isn't there much of this anymore? I feel like nothing looks really dangerous and realistic nowadays. Moreover, this is actually a story about how Keaton's character doesn't want to get married. Incredibly action-packed and entertaining. (03.07.2014)

This time the natural disaster with which many of Keaton’s films culminate takes the form of approximately five hundred angry women in wedding dresses chasing the protagonist through the streets of Los Angeles. The brilliantly intensified, breakneck stunts and off-the-wall jokes (a turtle!) drive the twenty-minute chase forward, culminating in a scene that leaves the opening of Raiders of the Lost Ark in the dust, preceded by a wonderful example of working with time limits. Keaton plays a bachelor who can inherit seven million dollars if he gets married no later than seven o’clock in the evening on his twenty-seventh birthday. That day has arrived and there are only a few hours left until evening. After a girl with whom he has long secretly been in love rejects him because of an inappropriate remark, he tries his luck with seven other ladies. With each rejection, the fateful seventh hour draws closer and Frigo, who keeps a straight face even as he zigzags between rolling boulders, must not stop if he doesn’t want to lose his race against time. Thanks to that, Seven Chances is an extremely dynamic film, enlivened by clever visual gags (which don’t draw too much attention to themselves and leave it up to you to find and appreciate them) in addition to the ceaseless movement of the protagonist, the unconventional design of some scenes (the “static” relocation by car) and the multiple actions running in parallel (the black servant, obviously played a white actor in blackface, is also an unpleasant reminder of the racism of the period in which the film was made). As befits a film of movement, the greatest risk is stopping – the situation becomes critical after the protagonist’s brief nap in the church. Unlike Chaplin’s more traditionalist farces, in which finding a partner also means finding harmony, in Keaton’s film, getting married is essentially a pragmatic decision (or rather a necessity) that is, furthermore, preceded by a series of stressful and life-threatening events. Therefore, the romance of the last shot must necessarily be disrupted by an annoying dog, thus giving us the feeling that no great idyll awaits the newly married couple anyway. 85% (25.09.2016)