Top Five Ending Gags: Buster Keaton’s Independent Features

More ending gags – the features this time.  Once again, Buster Keaton shows off his flair for perfect final shots.  Although his films are crammed with laughs of all sorts, a great ending gag makes a film feel like a single joke, building splendidly to its punch line.  (Spoilers, of course.)

Our Hospitality

The Canfield clan, having just discovered Willie’s marriage to Virginia, decide to lay down arms, ending the feud once and for all.  Amidst his strapping, olive-branch-bearing new relations, diminutive Willie proves quite the pragmatist.  He’s been made to look even weaker than usual, wrapped up in a blanket after a recent tumble in the river, but when he opens the blanket, he reveals himself to be basically made of concealed guns, placidly unburdening himself and laying them all on the table beside each of his in-laws’ single weapons.  My favorite, without a doubt.

Sherlock Jr.

After the inventive things Buster does with film earlier in the picture, it ends fittingly with the projectionist taking cues from the big screen to woo his girl.  It’s wonderfully set up – the projectionist’s shy, diffident imitations of the onscreen lothario’s moves, and the amusing shots of him turning from the girl to consult the movie for his “next step.”  Then, we get the brilliant kicker:  onscreen, a shot of the lovers embracing fades directly into them with twin babies, leaving the projectionist to puzzle out the logical progression.  I love Buster’s last expression.

Go West

Having saved the day (and the ranch,) Friendless is offered anything from the rancher as a reward.  When he says, “I want her,” film convention suggests he – sexistly and presumptuously – means the rancher’s daughter, who is, after all, “the girl” in this film.  But Go West isn’t that kind of movie, and he of course means Brown Eyes, his beloved cow.  The last image of the rancher driving away, with Friendless and Brown Eyes sitting together in the backseat, is a stitch.

Battling Butler

As one of Buster’s independent features, Battling Butler is decidedly middle-of-the-pack.  Its final shot, though, is a knockout – I adore the sight of Alfred and his wife walking arm in arm down the street, Alfred with his top hat, cane, boxing trunks, and gloves.  Too fun.

The General

Johnnie, the hero of the hour, has finally been made a soldier, and not just that – a lieutenant!  He wraps his arm around Annabelle for a little post-epic-train-chase smooching, but every time another soldier walks by, he has to stop so they can exchange salutes.  At first, there are just enough of them to be irritating, but when Johnnie sees the entire camp has risen and is heading his way, he takes matters into his own hands.  He and Annabelle trade places and, with him sitting on her left, he can kiss and salute simultaneously.  Oh, that Buster; he’s a crafty one…