Jina Zhao
Assignment 3
March 7, 2021
A Hero in a Comedy
The narrative silent comedy film The General directed by Buster Keaton and Clyde
Bruckman has a setting of the American Civil War. The plot revolves around Johnnie Gray and
his “The General.” Johnnie has always wished to becomes a soldier and fight for the South side
during the war. However, he gets rejected because his present job as a train engineer is more
valuable than enlisting in the army. Then, one day, his train get stolen by the Union Army and he
chases after them to the North. Finally, he uses his wisdom and bravery and gets his train back to
the South. Johnnie also accomplishes his dream of becoming a lieutenant and wins Annabelle
Lee’s heart.
In the time of the 1800s, most people have heroism and want to serve the country. In the
film, Johnnie and other men in the neighborhood all become very excited to go enlist in the
army. Anabelle Lee even says to Johnnie, “I don’t want you to speak to me again until you are in
uniform” (Keaton & Bruckman, 1927, 00:10:59). Ironically, the next time they speak is when he
tries to save her, wearing the Northern uniform. As for Johnnie, although he is a railroad
engineer who is not strong-looking, he is eager to be enlisted. He runs excitedly to the line to be
the first one to register. His heroism follows as he chases the train, saves Anabelle, and warns the
South of the attack plan.
Johnnie Gray is also perseverant and track-minded in his character personality. He does
not think too much about the consequences as he is determined to reach a goal. When the North
steals his train, “The General,” all he wants is to get it back. He chases the train single-handed.
He is so brave and confident that his enemies believe and is afraid “they have us greatly
outnumbered” (Keaton & Bruckman, 1927, 00:20:17). The Northern soldiers are very surprised
to find out “there is only one man on that engine” (Keaton & Bruckman, 1927, 00:32:35).
Even through this is a comedy film, it is far more than that. There are many actions and
exciting physical scenes throughout the whole film. Nevertheless, “it doesn’t hurt that the story is
as wild and complicated” (Winter, 2013), audience are can still laugh at even some of the intense
and stimulative scenes. On the other hand, though, “physical comedy depends on the proximity
and possibility of death, which no longer seems acceptable to viewers…who are repelled by the
idea that a performer would actually face death for what is, after all, only a movie” (Brody,
2013). As the main actor of The General, Buster Keaton himself, “suffered terrible injuries from
his fall” (Brody, 2013). The physical stunts performed by Buster Keaton, when chasing and
being chased are all real and dangerous actions. For example, he jumps between the engine, roofs
and railroads. He also picks up and pulls barriers on the tracks while the train is still moving
toward him. Any of them can injure or even kill Keaton. Many people may think they are too
dangerous and should not be allowed to film anymore, just like Brody stated. Nevertheless, those
scenes bring realistic views and better experiences to the audience with no question.
There are many efficient techniques in this film, such as medium shot, close-up and
music. There is one scene where Johnnie breaks into a house in the North and hides below a
dining table. An officer burns a hole on the table cloth with a cigarette. That hole becomes the
focus of the camera and forms a medium shot of Annabelle. It also shows an extreme close-up of
Johnnies’ eye. The music goes through the whole film. It is cheerful and lively, which
corresponds with the funny plot that Johnnie chases his engine and later is chased, reversely.
Physical comedy makes silent comedies famous. The present-day colorful comedies with
talking build upon them. Physical comedy, like The General is still influential today. Audience
love Johnnie as a hero, just like a superhero today.
Reference
Keaton, B. & Bruckman, C. (Director). (1927). The General [Film]. A United Artists Production.
Brody, R. (2013). The demise of physical comedy. The New Yorker.
https://www.newyorker.com/culture/richard-brody/the-demise-of-physical-comedy
Winter, M. (2013). Slapstick last: why a modern-day Harold Lloyd is unthinkable. Roger Ebert.
https://www.rogerebert.com/streaming/slapstick-last-why-a-modern-day-harold-lloyd-is-
unthinkable
