Fred Gabourie Movies

Henry Jones guest stars as Dr. Alexander Knott, an elderly country physician who helps Roy (Kevin Tighe) and John (Randolph Mantooth) during an emergency--and who goes to great lengths to hide his own physical frailties. Back at the station house, John becomes starstuck during a photo shoot in which he is surrounded by beautiful models. And in another show business-related incident, a pair of Hollywood stuntmen (played by real-life stunt performers Fred Gabourie and George Sawaya) are trapped on a studio-built waterfall. The same week that this episode originally aired on NBC, the cast of Emergency! appeared in a "crossover" episode on Adam-12, "ost and Found". ~ Hal Erickson, Rovi

It is all but impossible to dislike this ultra-cheap "Cold War paranoia" melodrama. Virtually the entire picture takes place on a single set, representing a rundown roadside diner. Lee Marvin plays the aptly named Slob, a lecherous short-order cook who lusts after shapely waitress Kotty (Terry Moore). Also interested in Kotty is a scientist known only as The Professor (Frank Lovejoy), who spends the better part of his free time at the diner's counter. It turns out that the Professor is a traitor, exchanging top-secret information with Slob, who's actually a commie agent. Only the Professor isn't a traitor, see, he's really . . . But why spoil the film for the uninitiated? For the record, Keenan Wynn and Whit Bissell are also in Shack Out on 101. ~ Hal Erickson, Rovi

Highway Dragnet is best known to modern movie buffs as the first film to carry Roger Corman's name in the credits. Corman was one of six screenwriters contributing to this location-filmed suspense melodrama, which stars Richard Conte as an ex-Marine on the lam from a murder charge. Conte hitches a ride from glamour-magazine photographer Joan Bennett, who is travelling cross-country with her principal model, Wanda Hendrix. True to audience expectations, the murderer will at one time or another be an occupant of Bennett's car, though it won't be the person whom the police are looking for. The tense climax takes place in a flooded tract house, with the killer stalking the next potential victim. Criticized for its low production values at the time of its release, Highway Dragnet actually stands up pretty well when seen today. ~ Hal Erickson, Rovi

Not the best of Buster Keaton's silents, Steamboat Bill, Jr. nonetheless contains some of Keaton's best and most spectacular sight gags. Keaton plays Willie Canfield, the namby-pamby son of rough-and-tumble steamboat captain "Steamboat Bill" Canfield (Ernest Torrence). When he's not trying to make a man out of his boy, the captain is carrying on a feud with Tom Carter (Tom McGuire), the wealthy owner of a fancy new ferryboat. Carter has a pretty daughter, Mary King (Marion Byron), with whom Willie falls in love. The two younger folks try to patch up the feud, but this seems impossible once the captain is jailed for punching out Carter. Willie tries ineptly to bust his dad out of jail, only to wind up in the hospital while trying to escape the law. As Willie lies unconscious in bed, a huge cyclone hits town, knocking down tall buildings like kindling. Upon awakening, he does his best to remain standing as the winds buffet him about. He takes refuge in a tree, which is promptly uprooted and blown toward the waterfront. Here is where Willie proves his manhood -- and ends the feud between Steamboat Bill and Carter -- by rescuing practically everyone in the cast from a watery grave. Steamboat Bill, Jr. would be memorable if only for one eye-popping (and dangerously real) sight gag: as the cyclone rages, the facade of a three-story building collapses upon Keaton -- who is saved only because the upstairs window has been left open! ~ Hal Erickson, Rovi

Buster Keaton plays Johnny Gray, a Southern railroad engineer who loves his train engine, The General, almost as much as he loves Annabelle Lee (Marion Mack). When the opening shots of the Civil War are fired at Fort Sumter, Johnny tries to enlist -- and he is deemed too useful as an engineer to be a soldier. All Johnny knows is that he's been rejected, and Annabelle, thinking him a coward, turns her back on him. When Northern spies steal the General (and, unwittingly, Annabelle), the story switches from drama and romance to adventure mixed with Keaton's trademark deadpan humor as he uses every means possible to catch up to the General, thwart the Yankees, and rescue his darling Annabelle -- for starters. As always, Keaton performs his own stunts, combining his prodigious dexterity, impeccable comic timing, and expressive body language to convey more emotion than the stars of any of the talkies that were soon to dominate cinema. ~ Emru Townsend, Rovi

Buster Keaton plays a young lawyer who will inherit $7 million at 7 o'clock on his 27th birthday--provided he is married. Long before discovering this, Keaton has pursued a lifelong courtship of Ruth Dwyer, whose refusals have become ritualistic over the years (the passage of time is amusingly conveyed by showing a puppy grow to adulthood). He proposes again, but this time she turns him down because she thinks (mistakenly) that he wants her only so that he can claim his inheritance. The doleful Keaton is thus obliged to spend the few hours left before the 7 PM deadline in search of a bride--any bride. He has no luck whatsoever until his pal T. Roy Barnes prints the story of Keaton's incoming legacy in the local newspaper. As a result, literally hundreds of women, bedecked in veils and bearing bouquets, chase Keaton through the busy streets of Los Angeles. When Keaton's producer Joseph M. Schenck bought the film rights to the Roi Cooper Megrue stage play Seven Chances, Keaton opted to forego most of the play's plot complications, devoting his energies to the bride-hunting vignettes and the climactic slapstick chase. The final scenes originally laid an egg with preview audiences--until the sequence was saved by "three little rocks." During the closing moments of the chase, Buster accidentally dislodged three small stones in the ground, which rolled after him as he escaped the thundering herd of would-be brides. The audience laughed immoderately at the tiny rocks, thereby inspiring Keaton to reshoot the ending, utilizing scores of huge, rolling boulders. The extra effort worked beautifully; while not his best silent feature, Seven Chances contains one of Keaton's most hilarious finales. Watch for Jean Arthur in a bit as a receptionist. ~ Hal Erickson, Rovi

The enduring power of this silent-era comedy classic from director/star Buster Keaton can be ascertained simply by recognizing how often its central concept has been cribbed, most notably by writer/director Woody Allen for The Purple Rose of Cairo (1985). Keaton is a cinema projectionist who dreams of being a famous detective, like Sherlock Holmes. In love with a beautiful girl (Kathryn McGuire), he presents her with chocolates and a ring, but another suitor (Ward Crane) also vies for her affections. The projectionist unsuccessfully tails his romantic rival, a deceitful sort who has stolen a watch from the girl's home and pawned it to buy her a larger box of candy. Falsely accused of the crime by his girlfriend's family, the heartbroken young man falls asleep at work while exhibiting a movie. He dreams that he walks into the screen and interacts with the film's characters -- now the players in the stolen watch imbroglio. ~ Karl Williams, Rovi

Although The Balloonatic was one of Buster Keaton's final two-reelers before he graduated to feature-length comedies, it has no plot to speak of. The gags, however, are especially rich and otherworldly. Basically, Keaton wanders off from an amusement park and winds up floating away in an experimental balloon. All this is merely a device to land him in the middle of a forest where he encounters a girl (Phyllis Haver). Before he patches up the balloon and takes off, it becomes clear that she is by far a better outdoorsman than he. The Balloonatic is a charming little film although it breaks no new ground. ~ Janiss Garza, Rovi

Thirty years after its release, Buster Keaton admitted that his first feature film was essentially three two-reel comedies strung together. Perhaps this was a way for the comic filmmaker to play it safe; he had achieved success for his short films and if Three Ages wasn't going very well, its trio of storylines could have been chopped up into separate films. The picture was a send-up of D.W. Griffith's 1916 masterpiece Intolerance. But instead of following greed and hatred through the ages, Keaton focused on love. His settings were the Stone Age, the Roman era and 1920s America, with Margaret Leahy as the girl and Wallace Beery as the villain in each segment. The stories are intercut, but they're basically the same: the villain uses either brutish or dishonest means to get the girl and Buster must somehow overcome him. Although they're the most crude-looking, the Stone Age scenes often offer the funniest moments: Buster flirts with a cavewoman who turns out to be twice his size; when a foe throws a rock at him, Buster hits the rock with a club, baseball-style, and squarely knocks out his opponent. The modern era offers the most thrilling scene -- Buster tries to jump between two tall buildings, but misses and falls. The fall was unintended, but instead of retaking the shot, he used it to create a series of events that led his character to the back of a moving fire truck.

While this picture ultimately didn't rate among Keaton's most classic work, it was a solid success when it first came out. Keaton did exactly what he'd set out to do, which was establish himself as a feature filmmaker. But it hadn't been all smooth going -- Margaret Leahy was pretty but had no talent for acting whatsoever. The girl was an English beauty-contest winner, and the prize was supposed to be a role in a Norma Talmadge film. She was so bad that Talmadge's director threatened to quit. So the star's producer/husband, Joseph Schenck (who was also Keaton's producer) put her in Three Ages instead. Keaton couldn't really complain -- because of his marriage to Natalie Talmadge, he was Norma's brother-in-law. So he made the best of it, although he later complained that Leahy caused him to throw away many scenes. Leahy eventually left the movie business and found a happier career working as an interior designer. ~ Janiss Garza, Rovi

Although Cops is one of the all-time great two-reelers, its creator, Buster Keaton, never thought much of it. He felt it was just a run-of-the-mill chase film, which suggests that perhaps Keaton was his own worst critic -- the chase is what gives the film its brilliance. The film's beginning is a portent of things to come: Keaton longingly looks at his girl Virginia Fox through what appear to be prison bars. In reality, it's the gate to the mansion where she lives. The girl sends Keaton away, telling him not to return until he is a success in business. Keaton attempts to do so, acquiring, through convoluted means, a horse, wagon, and a load of stolen furniture. Somehow he drives his wagon into the middle of a policeman's parade, where an anarchist's bomb falls in his lap. Carelessly, he lights his cigarette with it and throws it away. It explodes in the middle of the parade, and suddenly Keaton is pursued by every cop in the city. The surrealistic vision of Keaton, small and alone, evading these hundreds upon hundreds of policemen is unforgettable. The filmmaker was both athlete and comic, and here he makes maximum use of both talents, racing down streets, playing a balancing act on a ladder, and casually grabbing hold of a car as it flies past, all in an attempt to evade the cops. When it was first released, this comic short confused many people -- its subtle statements (including its blend of humor and politics) went over the head of the average filmgoer of the '20s. But those same qualities make Cops a classic today. ~ Janiss Garza, Rovi

When Buster (Buster Keaton) is spurned by his sweetheart, he decides to forget by sailing around the world. He posts a letter to his girl, sealing it with his tears, and heads out to sea in a ramshackle little boat he's named "Cupid." Weeks later, he encounters a whaling ship called "The Love Nest" -- an ironic name, considering the captain (the very formidable Joe Roberts) is extremely mean-spirited and in the habit of throwing men overboard for the smallest infraction. When the steward spills the Captain's coffee and receives the ultimate penalty, Buster is given his job. Buster's seafaring talents, of course, leave much to be desired -- for example, when he hears the order, "All hands on deck!" he takes it literally and, yes, puts his hand on the deck. Amazingly, Buster goes for quite a while before he incurs the Captain's fatal ire. He outfoxes his tormentor, sinks the ship and takes off on a lifeboat. But fate isn't done with him yet -- he winds up fishing in a Naval target practice zone. But just as the target he's sitting on explodes, he wakes up, back on the "Cupid" -- it was all a dream. But Buster's relief is only temporary, as he discovers that he has no food or water. Then he sees someone swimming past him ... his boat, luckily, is still tied to the port. This was Keaton's final two-reel short; by the time it was released in March 1923, he was already working on his first feature, The Three Ages. ~ Janiss Garza, Rovi

Comic filmmaker Buster Keaton always had a love of gadgetry, and that interest in all things mechanical is allowed full expression here. The two-reeler opens up on college graduation day, and the students are receiving their diplomas. The sheepskins get switched around, however, and Buster, a botany major, receives a diploma in electrical engineering. The dean (Joe Roberts) asks him to wire his house while he takes his family on a vacation; with the help of a book called "Electricity Made Easy," Buster does just that, and more. The dean and his family return to find a staircase that functions like an escalator, a Murphy bed that puts itself away, a toy train set that serves meals, a self-racking pool table, and many other unexpected conveniences. The trial run of the house doesn't go off without a few glitches, of course, but things really go haywire (literally) when Buster's rival (the real electrical engineering graduate) sneaks in and begins switching the cables around. It took two attempts for Keaton to complete this film short. The first time around, in 1921, he got his shoe caught in the staircase/ escalator and broke his leg. He was in a cast for seven weeks and dropped the project for over a year. When he commenced shooting again in 1922, he used his own house for the exterior shots of the dean's home. ~ Janiss Garza, Rovi

Buster Keaton is a boy who wants to marry his sweetheart (a pre-stardom Renee Adoree). But her practical father (Joe Keaton -- in real life, Buster's father) wants to know, "How will you support her?" Buster swears he will go to the city to make good, adding, "If I am not a success I'll come back and shoot myself." The father generously offers to loan him his gun, should that come to pass. And so Buster is off, writing letters home of his adventures. His girl reads that he is working at a hospital. She imagines him as a master surgeon. In reality, he is a veterinary assistant. Then he writes that he is cleaning up on wall street. But he not the tycoon that his girl believes he is -- as a sanitary engineer, Buster is literally "cleaning up." Next he is making his theatrical debut. His girl pictures him on stage as Hamlet. Instead, Buster is actually an extra who is so disruptive that the star haughtily walks off the show. He ends up being chased by the town's police force (in scenes similar in tone to Keaton's two-reeler, Cops, released six months earlier). Finally, a bruised and battered Buster is delivered, via mail, back home to his girl and her father. Obligingly, the father hands the boy a gun, and he and his daughter go into another room while he does the job. But Buster can't even do this right -- he misses. Several fragments of Daydreams are missing and replaced by stills shot while it was being filmed. But it is lucky that the two-reeler exists at all -- the only known copy of it was found in Czechoslovakia. ~ Janiss Garza, Rovi