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Overcoat (left) and topcoat (right) from The Gazette of Fashion, 1872.

An overcoat is a type of long coat intended to be worn as the outermost garment. Overcoats usually extend below the knee, but are sometimes mistakenly referred to as topcoats, which are short coats that end at or above the knees. Topcoats and overcoats together are known as outercoats. Unlike overcoats, topcoats are usually made from lighter weight cloth such as gabardine or covert, while overcoats are made from heavier cloth or fur, because overcoats are more commonly used in winter when warmth is more important.

History of the overcoat[link]

In many countries, coats and gowns reaching below the knee have been worn for centuries, often for formal uses, establishing either social status or as part of a professional or military uniform. In the 17th century, the overcoat became widely stylised and available to the different classes.

In the West, the general profile of overcoats has remained largely unchanged for a long time. During the Regency, the fashion was to have very form-fitting clothes, with sidebodies, waist seams, and a flared skirt. Examples of this included the frock overcoat and paletot. This gradually shifted to the looser styles more common now, typified by the Chesterfield coat, which became popular by the end of the Victorian period.^[1] Until then, most coats were double breasted, but Chesterfields and accompanying styles like the guard's coat were worn in single and double breasted varieties.

More recently, there is a decline in the wearing of full-length overcoats, and double breasted ones are much less common.

Military use of the overcoat[link]

Napoleon, mounted, campaigning in France in 1814, wearing a grey overcoat, by Jean-Louis-Ernest Meissonier.

Overcoats in various forms have been used by militaries since at least the late 18th century, and were especially associated with winter campaigns, such as Napoleon's Russian campaign. The full length overcoat was once again popularised by the use during World War I of the trench coat.

Stereotypically, overcoats used by the army tended to be single-breasted, while navies often used double-breasted overcoats. Overcoats continued to be used as battle dress until the mid 1940s and 1950s, when they were deemed impractical. However, in colder countries, such as the former USSR, they continue to be issued and used. When more efficient clothing and synthetic fibres became readily available, the overcoat began to be phased out even there. However, a recent (2008–2011) attempt to introduce military uniforms made of warm synthetic fibers was made in Russia, it resulted in many soldiers getting frostbites and pneumonia.^[2]

Examples of overcoats[link]

Double-breasted coat, 1876

We note here some of the most common historical overcoats, in roughly chronological order.

	The Greatcoat, a voluminous overcoat with multiple shoulder capes, prominently featured by European militaries, most notably the former Soviet Union
	The Redingote (via French from English riding coat), a long fitted coat for men or women
	The Frock overcoat, a very formal daytime overcoat commonly worn with a frock coat, featuring a waist seam and heavy waist suppression
	The Ulster coat, a working daytime overcoat initially with a cape top covering sleeves, but then without; it evolved to the polo coat after losing its cape
	The Inverness coat, a formal evening or working day overcoat, with winged sleeves
	The Paletot coat, a coat shaped with sidebodies, as a slightly less formal alternative to the frock overcoat
	The Paddock coat, with even less shaping
	The Chesterfield coat, a long overcoat with very little waist suppression; being the equivalent of the 'sack suit' for clothes, it came to be the most important overcoat of the next half-century
	The Covert coat, a classically brown/fawn, straight cut, single breasted country coat that became accepted for wear in the city with a suit as well as with tweed.[3] It has a signature four lines of stitching at the cuffs and hem. It also had a fly front closure and 2 side pockets. The collar is sometimes made of velvet.

See also[link]

• Coat (clothing)
• Overcoat (disambiguation)

Further reading[link]

• The Gentleman's Gazette provides in depth information about the Chesterfield, Paletot, the Covert Coat, the Polo Coat, the Ulster, the British Warm Greatcoat and the Guard's Coat.

References[link]

1. ^ "The Chesterfield Overcoat". Gentleman's Gazette. http://www.gentlemansgazette.com/chesterfield-overcoat/. Retrieved 2012-01-19. 
2. ^ Russian Soldiers Freeze in New Uniforms
3. ^ "The Covert Coat". Gentleman's Gazette. http://www.gentlemansgazette.com/covert-coat/. Retrieved 2012-01-24. 

Buster Keaton
Born	Joseph Frank Keaton (1895-10-04)October 4, 1895 Piqua, Kansas, United States
Died	February 1, 1966(1966-02-01) (aged 70) Woodland Hills, Los Angeles, California, United States
Cause of death	Lung cancer
Occupation	Actor, director, producer and writer
Years active	1898–1966
Influenced	Jackie Chan, Peter Jackson, Mel Brooks, Donald O'Connor, Stanley Donen, Blake Edwards, Nick Park
Spouse	Natalie Talmadge (m. 1921–1932) Mae Scriven (m. 1933–1936) Eleanor Norris (m. 1940-1966; his death)

Joseph Frank "Buster" Keaton (October 4, 1895 – February 1, 1966) was an American comic actor, filmmaker, producer and writer.^[1] He was best known for his silent films, in which his trademark was physical comedy with a consistently stoic, deadpan expression, earning him the nickname "The Great Stone Face".^[2]

Buster Keaton (his lifelong stage name) was recognized as the seventh-greatest director of all time by Entertainment Weekly.^[3] In 1999, the American Film Institute ranked Keaton the 21st-greatest male star of all time. Critic Roger Ebert wrote of Keaton's "extraordinary period from 1920 to 1929, [when] he worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies."^[2]

Orson Welles stated that Keaton's The General is "the greatest comedy ever made, the greatest Civil War film ever made, and perhaps the greatest film ever made."^[4]

A 2002 worldwide poll by Sight & Sound ranked Keaton's The General as the 15th best film of all time. Three other Keaton films received votes in the magazine's survey: Our Hospitality, Sherlock, Jr., and The Navigator.^[5]

Early life in vaudeville[link]

Keaton was born Joseph Frank Keaton^[6] into a vaudeville family. He was named "Joseph" to continue a tradition on his father's side—he was sixth in a line bearing the name Joseph Keaton^[6]—and "Frank" for his maternal grandfather, who disapproved of the parents' union. Later, Keaton changed his middle name to "Francis".^[6] His father was Joseph Hallie "Joe" Keaton, a native of Vigo County, Indiana. Joe Keaton owned a traveling show with Harry Houdini called the "Mohawk Indian Medicine Company", which performed on stage and sold patent medicine on the side. Buster Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labor.^[7]

According to a frequently-repeated story, which may be apocryphal,^[8] Keaton acquired the nickname "Buster" at about eighteen months of age. Keaton told interviewer Fletcher Markle that Harry Houdini happened to be present one day when the young Keaton took a tumble down a long flight of stairs without injury. After the infant sat up and shook off his experience, Houdini remarked, "That was a real buster!" According to Keaton, in those days, the word "buster" was used to refer to a spill or a fall that had the potential to produce injury. After this, it was Keaton's father who began to use the nickname to refer to the youngster. Keaton retold the anecdote over the years, including during a 1964 interview with the CBC's Telescope.^[9]

At the age of three, Keaton began performing with his parents in The Three Keatons. He first appeared on stage in 1899 in Wilmington, Delaware. The act was mainly a comedy sketch. Myra played the saxophone to one side, while Joe and Buster performed on center stage. The young Keaton would goad his father by disobeying him, and the elder Keaton would respond by throwing him against the scenery, into the orchestra pit, or even into the audience. A suitcase handle was sewn into Keaton's clothing to aid with the constant tossing. The act evolved as Keaton learned to take trick falls safely; he was rarely injured or bruised on stage. This knockabout style of comedy led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. He was eventually billed as "The Little Boy Who Can't Be Damaged," with the overall act being advertised as "'The Roughest Act That Was Ever in the History of the Stage."^[10] Decades later, Keaton said that he was never hurt by his father and that the falls and physical comedy were a matter of proper technical execution. In 1914, Keaton told the Detroit News:

The secret is in landing limp and breaking the fall with a foot or a hand. It's a knack. I started so young that landing right is second nature with me. Several times I'd have been killed if I hadn't been able to land like a cat. Imitators of our act don't last long, because they can't stand the treatment.^[10]

Keaton claimed he was having so much fun that he would sometimes begin laughing as his father threw him across the stage. Noticing that this drew fewer laughs from the audience, he adopted his famous deadpan expression whenever he was working.^[11]

The act ran up against laws banning child performers in vaudeville. It is said that, when one official saw Keaton in full costume and makeup and asked a stagehand how old he was, the stagehand then pointed to the boy's mother, saying, "I don't know, ask his wife!" According to one biographer, Keaton was made to go to school while performing in New York, but only attended for part of one day. Despite tangles with the law and a disastrous tour of music halls in the United Kingdom, Keaton was a rising star in the theater. Keaton stated that he learned to read and write late, and was taught by his mother. By the time he was 21, his father's alcoholism threatened the reputation of the family act,^[10] so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film.^[12]

Although he did not see active combat, he served in World War I, during which time he suffered an ear infection that permanently impaired his hearing.^[13][14]

Silent film era[link]

In February 1917, Keaton met Roscoe "Fatty" Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. Joe Keaton disapproved of films, and Buster also had reservations about the medium. During his first meeting with Arbuckle, he asked to borrow one of the cameras to get a feel for how it worked. He took the camera back to his hotel room, dismantled and reassembled it. With this rough understanding of the mechanics of the moving pictures, he returned the next day, camera in hand, asking for work. He was hired as a co-star and gag man, making his first appearance in The Butcher Boy. Keaton later claimed that he was soon Arbuckle's second director and his entire gag department. Keaton and Arbuckle became close friends.

In 1920, The Saphead was released, in which Keaton had his first starring role in a full-length feature. It was based on a successful play, The New Henrietta, which had already been filmed once, under the title "The Lamb" with Douglas Fairbanks playing the lead. Fairbanks recommended Keaton to take up the role for the remake five years later, since the film was to have a comic slant.

After Keaton's successful work with Arbuckle, Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (1920), The Playhouse (1921), Cops (1922), and The Electric House (1922). Keaton then moved to full-length features, his first starring role being in The Saphead (1920).

Keaton's writers included Clyde Bruckman and Jean Havez, but the most ingenious gags were generally conceived by Keaton himself. Comedy director Leo McCarey, recalling the freewheeling days of making slapstick comedies, said, "All of us tried to steal each other's gagmen. But we had no luck with Keaton, because he thought up his best gags himself and we couldn't steal him!"^[15] The more adventurous ideas called for dangerous stunts, performed by Keaton at great physical risk. During the railroad water-tank scene in Sherlock Jr., Keaton broke his neck when a torrent of water fell on him from a water tower, but he did not realize it until years afterward. A scene from Steamboat Bill Jr. required Keaton to run into the shot and stand still on a particular spot. Then, the facade of a two-story building toppled forward on top of Keaton. Keaton's character emerged unscathed, thanks to a single open window which passed directly over him. The stunt required precision, because the prop house weighed two tons, and the window only offered a few inches of space around Keaton's body. The sequence became one of the iconic images of Keaton's career.^[16]

The film critic David Thomson later described Keaton's style of comedy: "Buster plainly is a man inclined towards a belief in nothing but mathematics and absurdity ... like a number that has always been searching for the right equation. Look at his face — as beautiful but as inhuman as a butterfly — and you see that utter failure to identify sentiment."^[17] Gilberto Perez describes "Keaton's genius as an actor to keep a face so nearly deadpan and yet render it, by subtle inflections, so vividly expressive of inner life. His large deep eyes are the most eloquent feature; with merely a stare he can convey a wide range of emotions, from longing to mistrust, from puzzlement to sorrow."^[18] Keaton even inspired full academic study.^[19]

Aside from Steamboat Bill Jr. (1928), Keaton's most enduring feature-length films include Our Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), and The General (1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline reenacted an actual wartime incident. Though it would come to be regarded as Keaton's proudest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy, and reviewers questioned Keaton's judgment in making a comedic film about the Civil War, even while noting it had a "few laughs".^[20] The fact that the heroes of the story were from the Confederate side may have also contributed to the film's unpopularity.

It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements. Keaton endured this treatment for two more feature films, and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, and his career in the early sound era was hurt as a result.^[21]

Sound era and television[link]

Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that the studio system MGM represented would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage, as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton to direct his last originally developed/written silent film The Cameraman, 1928, which was his first project under contract with MGM.

Keaton was forced to use a stunt double during some of the more dangerous scenes, as MGM wanted badly to protect its investment. He also stopped directing, but continued to perform and made some of his most financially successful films for the studio. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber, Speak Easily, and What! No Beer? The latter would be Keaton's last starring feature. The films proved popular. (Thirty years later, both Keaton and Durante had cameo roles in It's a Mad Mad Mad Mad World.)

In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at time and shoot immediately after. This is discussed in the TCM documentary Buster Keaton: So Funny it Hurt, with Keaton complaining about having to shoot lousy films not just once, but three times.

Keaton was so depleted during the production of 1933's What! No Beer? that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées. During this period, he made one other film in Europe, The Invader (released in America as An Old Spanish Custom in 1936).

Educational Pictures[link]

Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself. The high point in the Educational series is Grand Slam Opera, featuring Buster in his own screenplay as an amateur-hour contestant. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (1939) and Go West (1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television.^[22]

Columbia Pictures[link]

In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick made most of these films resemble White's Three Stooges comedies. Keaton's personal favorite was the series' debut entry, Pest from the West, a shorter, tighter remake of Keaton's little-viewed 1935 feature The Invader; it was directed not by White but by Del Lord, a veteran director for Mack Sennett. Moviegoers and exhibitors welcomed Keaton's Columbia comedies, proving that the comedian had not lost his appeal. However, taken as a whole, Keaton's Columbia shorts rank as the worst comedies he made, an assessment he concurred with in his autobiography.^[23] The final entry was She's Oil Mine, and Keaton swore he would never again "make another crummy two-reeler."^[23] These Columbia films are his final starring series for any film studio.

1940s and feature films[link]

Keaton's personal life had stabilized with his 1940 marriage, and now he was taking life a little easier, abandoning Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in both "A" and "B" features. Critics rediscovered Keaton in 1949 and producers occasionally hired him for bigger "prestige" pictures. He had cameos in such films as In the Good Old Summertime (1949), Sunset Boulevard (1950), and Around the World in Eighty Days (1956).

Keaton also had a small bit part as Jimmy, appearing near the end of the film It's A Mad, Mad, Mad, Mad World (1963). Jimmy assisted Spencer Tracy's character, Captain C. G. Culpepper, in storing his police car in a shoreline garage. Keaton was given more screen time in A Funny Thing Happened on the Way to the Forum (1966). The appearance is all the more touching since it was Keaton's last public appearance.

Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952), recalling the vaudeville of The Playhouse. With the exception of Seeing Stars, a minor publicity film produced in 1922, Limelight was the only time in which the two would ever appear together on film.

In 1949, comedian Ed Wynn invited Keaton to appear on his CBS Television comedy-variety show, The Ed Wynn Show, which was televised live on the West Coast. Kinescopes were made for distribution of the programs to other parts of the country since there was no transcontinental coaxial cable until September 1951.

1950s and television[link]

Keaton pretending to have his foot stuck in the railroad tracks of a train ride at Knott's Berry Farm in 1956

In 1950, Keaton had a successful television series, The Buster Keaton Show, which was broadcast live on a local Los Angeles station. An attempt to recreate the first series on film as Life with Buster Keaton (1951), which allowed the program to be broadcast nationwide, was less well-received. He also appeared in the early television series Faye Emerson's Wonderful Town. A theatrical feature film, The Misadventures of Buster Keaton, was fashioned from the series. Keaton said he canceled the filmed series himself because he was unable to create enough fresh material to produce a new show each week. Keaton also appeared on Ed Wynn's variety show. At the age of 55, he successfully recreated one of the stunts of his youth, in which he propped one foot onto a table, then swung the second foot up next to it, and held the awkward position in midair for a moment before crashing to the stage floor. I've Got a Secret host Garry Moore recalled, "I asked (Keaton) how he did all those falls, and he said, 'I'll show you'. He opened his jacket and he was all bruised. So that's how he did it—it hurt—but you had to care enough not to care."

Unlike his contemporary Harold Lloyd, who kept his films from being televised (and therefore became lesser known to today's audiences), Keaton's periodic television appearances helped to revive interest in his silent films in the 1950s and 1960s. In 1954, Keaton played his first television dramatic role in "The Awakening", an episode of the syndicated anthology series Douglas Fairbanks, Jr., Presents. About this time, he also appeared on NBC's The Martha Raye Show.

Keaton as a time traveler in The Twilight Zone episode, "Once Upon a Time", November 1961.

On April 3, 1957, Keaton was surprised by Ralph Edwards for the weekly NBC program This Is Your Life. The half hour program, which also promoted the release of the biographical film The Buster Keaton Story with Donald O'Connor, summarized Keaton's life and career up to that point.^[24]

In December 1958, Keaton was a guest star as a hospital janitor who provides gifts to sick children in a special Christmas episode of The Donna Reed Show on ABC. The program was titled "A Very Merry Christmas". He returned to the program in 1965 in the episode "Now You See It, Now You Don't". The 1958 episode has been included in the DVD release of Donna Reed's television programs.^[25] Actor Paul Peterson, a regular on "The Donna Reed Show," recalls in the book "The Fall of Buster Keaton" (2010, Scarecrow Press) that Keaton "put together an incredible physical skit. His skills were amazing. I never saw anything like it before or since."

In August 1960, Keaton accepted the role of mute King Sextimus the Silent in the national touring company of Once Upon A Mattress, a successful Broadway musical. Eleanor Keaton was cast in the chorus, and during rehearsals, she fielded questions directed at her husband, creating difficulties in communication. After a few days, Keaton warmed up to the rest of the cast with his "utterly delicious sense of humor", according to Fritzi Burr, who played opposite him as his wife Queen Aggravaine. When the tour landed in Los Angeles, Keaton invited the entire cast and crew to a spaghetti party at his Woodland Hills home, and entertained them by singing vaudeville songs.^[26]

In 1960, Keaton returned to MGM for the final time, playing a lion tamer in a 1960 adaptation of Mark Twain's The Adventures of Huckleberry Finn. Much of the film was shot on location on the Sacramento River, which doubled for the Mississippi River setting of Twain's original book.^[27]

In 1961, he starred in The Twilight Zone episode "Once Upon a Time", which included both silent and sound sequences. Keaton played time traveler Mulligan, who traveled from 1890 to 1960, then back, by means of a special helmet.

Keaton also found steady work as an actor in TV commercials, including a popular series of silent ads for Simon Pure Beer made in 1962 by Jim Mohr in Buffalo, NY in which he revisited some of the gags from his silent film days. In 1963, Keaton appeared in the episode "Think Mink" of ABC's Mr. Smith Goes to Washington sitcom, starring Fess Parker.

In 1964, Keaton appeared with Joan Blondell and Joe E. Brown in the final episode of ABC's circus drama, The Greatest Show on Earth, starring Jack Palance. That same year, he appeared on Lucille Ball's CBS television show, The Lucy Show, in an episode ("A Day in the Park") filmed in color but initially televised in black and white; this featured him sitting on a park bench, reading a newspaper, which he gradually unfolded into a huge, single sheet, a gag first seen in his 1921 short The High Sign. Harvey Korman played a policeman in the scene.^[28]

Keaton with fellow comedian Joe E. Brown in a 1962 episode of Route 66.

At the age of 70, Keaton suggested that, for his appearance in the 1965 film Sergeant Deadhead, he run past the end of a firehose into a six-foot-high flip and crash. When director Norman Taurog balked, expressing concerns for Keaton's health, Keaton said, "I won't hurt myself, Norm, I've done it for years!" Keaton also starred in three other films for American International Pictures (Beach Blanket Bingo, Pajama Party, and How to Stuff a Wild Bikini).

In 1965, Keaton starred in a short film called The Railrodder for the National Film Board of Canada. Wearing his traditional porkpie hat, he travelled from one end of Canada to the other on a motorized handcar, performing gags similar to those in films he made 50 years before. The film is also notable for being Keaton's last silent screen performance. The Railrodder was made in tandem with a behind-the-scenes documentary about Keaton's life and times, called Buster Keaton Rides Again, also made for the National Film Board. He played the central role in Samuel Beckett's Film (1965), directed by Alan Schneider. Also in 1965, he traveled to Italy to play a role in Due Marines e un Generale, co-starring alongside with the famous Italian comedian duo of Franco Franchi and Ciccio Ingrassia.

Keaton's last film appearance was in A Funny Thing Happened on the Way to the Forum (1966) which was filmed in Spain in late 1965. He amazed the cast and crew by doing many of his own stunts, although Thames Television said his increasingly ill health did force the use of a stunt double for some scenes.^[29]

Marriages[link]

In 1921, Keaton married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922–2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer.^[30]

According to Keaton's autobiography, Natalie turned him out of their bedroom and hired detectives to follow him. Her extravagance was another factor in the breakdown of the marriage. During the 1920s, according to his autobiography, he dated actress Kathleen Key.^[31]

After attempts at reconciliation, Natalie divorced Keaton in 1932, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. The failure of his marriage, along with the loss of his independence as a filmmaker, led Keaton into a period of alcoholism.^[21]

During the height of his popularity, Keaton spent $300,000 to build a 10,000-square-foot (930 m²) home in Beverly Hills, which was later owned by James Mason and Cary Grant. Keaton's "Italian Villa" can be seen in Keaton's film Parlor, Bedroom and Bath. Keaton later said, "I took a lot of pratfalls to build that dump." Mason found numerous cans of previously "lost" Keaton films in the house in the 1950s; the films were quickly transferred by Raymond Rohauer to safety film before the original cellulose nitrate prints further deteriorated. Among the discovered films is Keaton's long-lost classic The Boat.^[32]

Keaton was at one point briefly institutionalized; however, according to the TCM documentary So Funny it Hurt, Keaton escaped a straitjacket with tricks learned during his vaudeville days. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing (Keaton himself later called that period an "alcoholic blackout"). Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. The singular event that triggered Mae filing for divorce in 1935 was her finding Keaton in flagrante dilecto with the infamous Leah Clampitt Sewell on the 4th of July of that same year in a hotel in Santa Barbara.^[33] When they divorced in 1936, it was again at great financial cost to Keaton.^[34]

In 1940, Keaton married Eleanor Norris (1918–1998), who was 23 years his junior. She has been credited with saving his life by stopping his heavy drinking, and helped to salvage his career. The marriage lasted until his death. Between 1947 and 1954, they appeared regularly in the Cirque Medrano in Paris as a double act. She came to know his routines so well that she often participated in them on TV revivals.

Death[link]

Keaton died of lung cancer on February 1, 1966, aged 70, in Woodland Hills, California.^[35] Despite being diagnosed with cancer in January 1966, he was never told that he was terminally ill or that he had cancer; Keaton thought that he was recovering from bronchitis. Confined to a hospital during his final days, Keaton was restless and paced the room endlessly, desiring to return home. In a British television documentary about his career, his widow Eleanor told producers of Thames Television that Keaton was up out of bed and moving around, and even played cards with friends who came to visit at their house the day before he died.^[36] Eleanor Keaton died in 1998, from emphysema and lung cancer, aged 80.

Buster Keaton, Movie Star

Influence and legacy[link]

Keaton has two stars on the Hollywood Walk of Fame: 6619 Hollywood Boulevard (for motion pictures); and 6321 Hollywood Boulevard (for television).

In 1955, Keaton was awarded The George Eastman Award, given by George Eastman House for distinguished contribution to the art of film.

Jacques Tati is described as "taking a page from Buster Keaton's playbook."^[37]

A 1957 film biography, The Buster Keaton Story, starred Donald O'Connor as Keaton. The screenplay, by Sidney Sheldon (who also directed the film), was vaguely based on his life, but contained many factual errors and merged his three wives into one character. Most of the story centered on his drinking problem. The 1987 documentary, Buster Keaton: A Hard Act to Follow, which won two Emmy Awards and was directed by Kevin Brownlow and David Gill, is considered a much more accurate telling of Keaton’s story.^[38]

In 1994, caricaturist Al Hirschfeld penned a series of silent film stars for the United States Post Office, including Rudolph Valentino and Keaton.^[39] Hirschfeld said that modern film stars were more difficult to depict, that silent film comedians such as Laurel and Hardy and Keaton "looked like their caricatures".^[40]

Keaton's physical comedy is cited by Jackie Chan in his autobiography documentary Jackie Chan: My Story as being the primary source of inspiration for his own brand of self-deprecating physical comedy.

Comedian Richard Lewis stated that Keaton was his prime inspiration, and spoke of having a close friendship with Keaton's widow Eleanor. Lewis was particularly moved by the fact that Eleanor said Lewis' eyes looked like Keaton's.^[41]

Pork pie hats[link]

Keaton seated, in costume, wearing his signature pork pie hat, circa 1939.

Keaton designed and modified his own pork pie hats during his career. In 1964, he told an interviewer that in making "this particular pork pie", he "started with a good Stetson and cut it down", stiffening the brim with sugar water.^[42] The hats were often destroyed during Keaton's wild film antics; some were given away as gifts and some were snatched by souvenir hunters. Keaton said he was lucky if he used only six hats in making a film. Keaton estimated that he and his wife Eleanor made thousands of the hats during his career. Keaton observed that during his silent period, such a hat cost him around two dollars; at the time of his interview, he said, they cost almost $13.^[42]

Keaton in music[link]

In 1987 Italian singer-songwriters Claudio Lolli and Francesco Guccini wrote a song, Keaton, about his work in Italy on the film Due Marines e un Generale

Filmography[link]

See also[link]

Biography portal

• Camille Keaton

References[link]

Further reading[link]

• Agee, James, "Comedy's Greatest Era" from Life (September 5, 1949), reprinted in Agee on Film (1958) McDowell, Obolensky, (2000) Modern Library
• Keaton, Buster (with Charles Samuels), My Wonderful World of Slapstick (1960) Doubleday, (1982) Da Capo Press ISBN 0-306-80178-7
• Blesh, Rudi, Keaton (1966) The Macmillan Company ISBN 0-02-511570-7
• Lahue, Kalton C., World of Laughter: The Motion Picture Comedy Short, 1910-1930 (1966) University of Oklahoma Press
• Lebel, Jean-Patrick, Buster Keaton (1967) A.S. Barnes
• Brownlow, Kevin, "Buster Keaton" from The Parade’s Gone By (1968) Alfred A. Knopf, (1976) University of California Press
• McCaffrey, Donald W., 4 Great Comedians: Chaplin, Lloyd, Keaton, Langdon (1968) A.S. Barnes
• Robinson, David, Buster Keaton (1969) Indiana University Press, in association with British Film Institute
• Robinson, David, The Great Funnies: A History of Film Comedy (1969) E.P. Dutton
• Durgnat, Raymond, "Self-Help with a Smile" from The Crazy Mirror: Hollywood Comedy and the American Image (1970) Dell
• Maltin, Leonard, Selected Short Subjects (first published as The Great Movie Shorts, 1972) Crown Books, (revised 1983) Da Capo Press
• Gilliatt, Penelope, "Buster Keaton" from Unholy Fools: Wits, Comics, Disturbers of the Peace (1973) Viking
• Mast, Gerald, The Comic Mind: Comedy and the Movies (1973, 2nd ed. 1979) University of Chicago Press
• Kerr, Walter, The Silent Clowns (1975) Alfred A. Knopf, (1990) Da Capo Press ISBN 0-394-46907-0
• Anobile, Richard J. (ed.), The Best of Buster: Classic Comedy Scenes Direct from the Films of Buster Keaton (1976) Crown Books
• Yallop, David, The Day the Laughter Stopped: The True Story of Fatty Arbuckle (1976) St. Martin's Press
• Byron, Stuart and Weis, Elizabeth (eds.), The National Society of Film Critics on Movie Comedy (1977) Grossman/Viking
• Moews, Daniel, Keaton: The Silent Features Close Up (1977) University of California Press
• Everson, William K., American Silent Film (1978) Oxford University Press
• Maltin, Leonard, The Great Movie Comedians (1978) Crown Books
• Dardis, Tom, Keaton: The Man Who Wouldn't Lie Down (1979) Scribners, (2004) Limelight Editions
• Benayoun, Robert, The Look of Buster Keaton (1983) St. Martin's Press
• Staveacre, Tony, Slapstick!: The Illustrated Story (1987) Angus & Robertson Publishers
• Edmonds, Andy, Frame-Up!: The Shocking Scandal That Destroyed Hollywood's Biggest Comedy Star Roscoe "Fatty" Arbuckle (1992) Avon Books
• Kline, Jim, The Complete Films of Buster Keaton (1993) Carol Pub. Group
• Meade, Marion, Buster Keaton: Cut to the Chase (1995) HarperCollins
• Rapf, Joanna E. and Green, Gary L., Buster Keaton: A Bio-Bibliography (1995) Greenwood Press
• Oldham, Gabriella, Keaton's Silent Shorts: Beyond the Laughter (1996) Southern Illinois University Press
• Horton, Andrew, Buster Keaton's Sherlock Jr. (1997) Cambridge University Press
• Bengtson, John, Silent Echoes: Discovering Early Hollywood Through the Films of Buster Keaton (1999) Santa Monica Press
• Knopf, Robert, The Theater and Cinema of Buster Keaton (1999) Princeton University Press ISBN 0-691-00442-0
• Keaton, Eleanor, Buster Keaton Remembered (2001) Harry N. Abrams ISBN 0-8109-4227-5
• Mitchell, Glenn, A – Z of Silent Film Comedy (2003) B.T. Batsford Ltd.
• McPherson, Edward, Buster Keaton: Tempest in a Flat Hat (2005) Newmarket Press ISBN 1-55704-665-4
• Oderman, Stuart, Roscoe "Fatty" Arbuckle: A Biography of the Silent Film Comedian (2005) McFarland & Co.
• Neibaur, James L., Arbuckle and Keaton: Their 14 Film Collaborations (2006) McFarland & Co.
• Keaton, Buster, Buster Keaton: Interviews (Conversations with Filmmakers Series) (2007) University Press of Mississippi
• Brighton, Catherine, Keep Your Eye on the Kid: The Early Years of Buster Keaton (2008) Roaring Brook Press (An illustrated children's book about Keaton's career)
• Smith, Imogen Sara, Buster Keaton: The Persistence of Comedy (2008) Gambit Publishing ISBN 978-0-9675917-4-2
• Carroll, Noel, Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping (2009) Wiley-Blackwell
• Neibaur, James L., The Fall of Buster Keaton: His Films for MGM, Educational Pictures, and Columbia (2010) Scarecrow Press

External links[link]

Wikiquote has a collection of quotations related to: Buster Keaton

Wikimedia Commons has media related to: Buster Keaton

• Buster Keaton at the Internet Movie Database
• Buster Keaton at the TCM Movie Database
• The International Buster Keaton Society
• Buster Keaton Museum
• Buster Keaton and the Muskegon Connection
• Buster Keaton in Five Easy Clips
• Buster Keaton Photo Galleries (includes rare images of BK smiling and laughing)
• Buster Keaton as a child performer (Univ. of Washington/Sayre collection)

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (January 2011)

Ruth Etting (November 23, 1897 — September 24, 1978) was an American singing star and actress of the 1920s and 1930s, who had over 60 hit recordings and worked in stage, radio, and film. She is known as "America's sweetheart of song". Her signature tunes were "Shine On Harvest Moon", "Ten Cents a Dance" and "Love Me or Leave Me". Her other popular recordings included "Button Up Your Overcoat", "Mean to Me", "Exactly Like You" and "Shaking the Blues Away".

Biography[link]

Ruth Etting was born in David City, Nebraska in 1897 to Alfred and Winifred (née Kleinhan) Etting. On her mother's death when she was five years old, she went to live with her paternal grandparents, George and Hannah Etting. Alfred Etting remarried and moved away from David City and largely out of his daughter's life.^[1]

Ruth Etting left David City at the age of seventeen to attend art school in Chicago. Her job designing costumes at the Marigold Gardens nightclub led to employment singing and dancing in the chorus there. She became a featured vocalist at the nightclub, and married gangster Martin "Moe the Gimp" Snyder on July 12, 1922. He managed her career, booking radio appearances, and eventually had her signed to an exclusive recording contract with Columbia Records. She made her Broadway debut in the Ziegfeld Follies of 1927. She went on to appear in a number of other hit shows in rapid succession, including Simple Simon and Whoopee!. In Hollywood, she made a long series of movie shorts between 1929 and 1936, and three feature movies in 1933 and 1934. In 1936, she appeared in London in Ray Henderson's Transatlantic Rhythm.^{[citation needed]}

Personal life[link]

Etting divorced Moe Snyder on November 30, 1937, aged 40. She fell in love with her pianist, Myrl Alderman, but in 1938 he was shot and injured by her ex-husband. Snyder was convicted of attempted murder, but released on appeal after one year in jail. Etting married Alderman, who was almost a decade her junior, in December 1938. The scandal of the sensational trial in Los Angeles effectively ended her career, though she briefly had a radio show in 1947. Alderman died on November 16, 1966.

Death[link]

Ruth Etting died in Colorado Springs, Colorado in 1978, aged 80. She had no children.

Legacy[link]

Her life was the basis for the fictionalized 1955 film, Love Me or Leave Me, which starred Doris Day (as Etting) and James Cagney (as Snyder).

Broadway[link]

• Ziegfeld Follies of 1927 — in which she introduced Irving Berlin's "Shaking The Blues Away"
• Whoopee! (1928) — in which she introduced "Love Me or Leave Me"
• Nine-Fifteen Revue (1929) — in which she introduced "Get Happy"
• Simple Simon (1930) — in which she introduced "Ten Cents a Dance"
• Ziegfeld Follies of 1931^{[citation needed]}

Motion picture appearances[link]

Short films[link]

• The Book of Lovers − 1929
• Roseland − 1930
• One Good Turn − 1930
• Broadway's Like That − 1930
• Words & Music − 1931
• Stage Struck − 1931
• Radio Salutes − 1931
• Old Lace − 1931
• A Modern Cinderella − 1932
• A Regular Trouper − 1932
• A Mail Bride − 1932
• Artistic Temper − 1932
• Bye-Gones − 1933
• Along Came Ruth − 1933
• Crashing the Gate − 1933
• California Weather − 1933
• Knee Deep in Music − 1933
• A Torch Tango − 1934
• The Song of Fame − 1934
• Derby Decade − 1934
• Southern Style − 1934
• Bandits and Ballads − 1934
• An Old Spanish Onion − 1935
• Ticket or Leave It − 1935
• Tuned Out − 1935
• Alladin from Manhattan − 1936
• Melody in May − 1936
• Sleepy Time − 1936

Feature films[link]

• Roman Scandals − 1933, her breakthrough film, which starred Eddie Cantor and Gloria Stuart
• Mr. Broadway − 1933, as herself
• Gift of Gab − 1934
• Hips, Hips, Hooray! − 1934

Featured Songs, Bioshock 2[link]

• Ten Cents a Dance −2010

References[link]

External links[link]

Biography portal

• Official Ruth Etting website
• Ruth Etting at the Internet Movie Database
• Ruth Etting at the Internet Broadway Database
• Ruth Etting at Find a Grave

Jack Clayton (1 March 1921 – 26 February 1995) was a British film director, who specialised in bringing literary works to the screen.

Career[link]

A native of East Sussex, Clayton started his career as a child actor on the 1929 film Dark Red Roses.^[1] He later worked for Alexander Korda's Denham Film Studios and rose from tea boy to assistant director to film editor.

While in service with the Royal Air Force during World War II, Clayton shot his first film, the documentary Naples is a Battlefield (1944), representing the problems in the reconstruction of Naples, the first great city liberated in World War II, ruined after Allied bombing and destruction caused by the retreating Nazis. After the war Clayton became an associate producer on many of Korda's films, then directed the Oscar-winning short The Bespoke Overcoat (1956) based on Wolf Mankowitz's theatrical version (1953) of Nikolai Gogol's short story The Overcoat (1842). In this film Gogol's story is re-located to a clothing warehouse in the East End of London and the ghostly protagonist is a poor Jew.

His first feature was the internationally acclaimed Room at the Top (1959), a harsh indictment of the British class system, which won two Oscars, earned Clayton a Best Director nomination, and was credited with spearheading Britain's movement toward realism in films; in fact that film inaugurated a series of realist films known as the British New Wave, which featured for that time, unusually sincere treatments of sexual mores and introduced a new maturity into British cinema.

Clayton followed with the ghost story The Innocents (1961), based on Henry James The Turn of the Screw, then lay back for several years, establishing a pattern he followed thereafter.

He directed The Pumpkin Eater (1964), Our Mother's House (1967), and then, seven years later, the high-profile American production of F. Scott Fitzgerald's The Great Gatsby (1974). But it did not fare well with the critics.

Perhaps in response to its failure, he did not take another assignment for nine years. He filmed Ray Bradbury's Something Wicked This Way Comes (1983), the Disney studio production, which fitted more closely with the ideas he had explored earlier, especially in the sense of the exposure of children to evil. But the finished film was a compromise between Disney's insistence on a more commercial version and the original vision of the director. Although the film was well received by critics, it was another disappointment for Clayton.

His last feature film, the British-made The Lonely Passion of Judith Hearne (1987), featured Maggie Smith as a spinster who struggles with the emptiness of her life; it won Clayton critical plaudits for the first time in many years. He worked with Smith again in 1992 for a television film Memento Mori, based on the novel by Muriel Spark, for which he also co-wrote the screenplay. Like previous ones, that film expressed quietly moving meditations on disappointment and aging.

Personal life[link]

When asked his religion, he replied: "ex-Catholic". He was married to the Israeli actress Haya Harareet until his death.

Notes[link]

References[link]

• World Film Directors, Volume Two, 1945–1985. ed. J. Wakeman. pp 224–227. New York: The H.W. Wilson Company, 1988.

External links[link]

• Jack Clayton biography and credits at the British Film Institute's Screenonline
• Literature on Jack Clayton

Simms Taback (February 13, 1932 – December 25, 2011) was an American author, graphic artist, and illustrator and winner of the Caldecott Medal. Taback has illustrated over 35 books, including the Caldecott Medal winning Joseph Had a Little Overcoat and the Caldecott Honor book There Was an Old Lady Who Swallowed a Fly.^[1]

Taback graduated from the Cooper Union for the Advancement of Art and served in the United States Army. He was a designer for CBS Records and The New York Times. He was the founder and president of the Illustrators Guild (later the New York Graphic Artists Guild) and taught art at the School of Visual Arts and Syracuse University.

Taback designed the first McDonalds Happy Meal box in 1977. He died in 2011 of pancreatic cancer.^[2][3]

Books[link]

The following is a partial list of Simms Taback books:

• I Miss You Every Day
• This is the house that Jack built (2004) based on the nursery rhyme
• Joseph Had a Little Overcoat (2000)
• There Was an Old Lady Who Swallowed a Fly (1998) based on the children's song
• Kibitzers and Fools

References[link]

External links[link]

• Official Simms Taback Website
• Official Caldecott Website
• Creative Parents Interview
• The Horn Book interview with Simms Taback