PARLOR, BEDROOM AND BATH (Metro-Goldwyn-Mayer, 1931), directed by Edward Sedgwick, stars comedian, Buster Keaton, in his third starring talkie that was previously filmed in the silent era (1920) featuring Eugene Palette. Taken from the play by Charles W. Bell and Mark Swan, and classified as a "farce comedy," the movie was another attempt to broaden Keaton's range as a deadpan character. With Keaton's usual stock players as Cliff Edwards and Edward Brophy once again in support, and not assuming the common name of "Elmer," it did offer Keaton an opportunity to work opposite the tall and scene stealing Charlotte Greenwood, one of the great comic delights from stage and screen.
Opening at a social function gathering by the swimming pool of a luxurious estate, the story begins with Virginia (Sally Eilers) refusing to marry Jeffrey Haywood (Reginald Denny) until her older sister by four years, Angelica (Dorothy Christy) marries first, so to spare her from being labeled an "old maid." Anxious to marry Virginia, Jeffrey offers to marry Angelica himself as a gesture. In the meantime, outside the estate is Reginald Irving (Buster Keaton) posting a sign on the telephone pole, observing Angelica in her bathing suit, and immediately liking what he sees. As Jeffrey drives off the estate, he accidentally hits the lovesick Reginald on the road. Taking the unconscious stranger upstairs to the bedroom where he's examined by a doctor, Angelica agrees to look after him until he's well again. Jeffrey stumbles upon an idea of getting Reginald together with Angelica, and does so by passing him off as an important "outdoors man," which soon arouses other women to take an interest in him as well. With Reginald and Angelica now engaged, Jeffrey and Virginia can make immediate plans for themselves. However, a week before the wedding, it is learned that Angelica refuses to marry Reginald due to he being truthful and loyal, not the type of man she'd prefer for a husband. In fact, she'd be happier having a husband she cannot trust so she add to the fun of being both suspicious and jealous. Jeffrey's next scheme is to hire Polly Hathaway (Charlotte Greenwood), his friend and gossip columnist, to go with Reginald at the Seaside Hotel where they are to register in a room as Mr. and Mrs. Smith. While there, Polly is to give him lessons in lovemaking ("Darling, I love you madly. I can't live without you. You must NEVER leave me"), as Jeffrey arranges for Angelica to walk in and catch them in the act, which would prove to her that Reginald can misbehave just like any other man. Complications occur as Angelica's friends, Nita Leslie (Joan Peers) and her career-minded husband, Frederick (Walter Merrill), having one of their frequent quarrels because he's away on business more than being with her. Wanting to make him jealous, Nita decides on going away with the first man she sees, who happens to be Reginald, who in turn, mistakes Nita for Polly, thus, heading over to the hotel where things don't go along as originally planned. Others seen in the cast include: Natalie Moorehead (Leila Crofton); and Sidney Bracey (Horace, the Butler).
While this would be the only movie pairing of Keaton and Greenwood, it's a pity they were more apart than together. It also makes one wish there was role switching, having Greenwood play a homely heiress of $8 million rather than the attractive Dorothy Christie to broaden the comedy situations, or having Keaton and Greenwood being a mix-matched married couple, or possibly casting her as a man-chaser as she did with Eddie Cantor in PALMY DAYS (1931). As it stands, PARLOR, BEDROOM AND BATH succeeds mostly on the gag material, including one lifted from Keaton's silent comedy, ONE WEEK (1920), changing a model home to car stuck on a railroad track, followed by an element of surprise. Chases provided are in the silent film tradition, minus any underscoring to set the tone and mood. Funny moments involve Cliff Edwards as the hotel bellboy stumbling upon Keaton kissing different women every time he enters the room. Edward Brophy as the hotel detective adds to some fairly good the amusements as well. Still a pratfall lovesick saphead with a sad face, Keaton does whatever he can to give this movie any substance of comedy material to make it work. Occasional laughs here and there, but they are infrequent.
PARLOR, BEDROOM AND BATH began turning up frequently on television around the 1980s when broadcast mostly on public television. It even played as a 45 minute featurette in a weekly televised series, "Matinee at the Bijou," before turning up on video cassette (some 1990s prints on a double bill with Keaton's other MGM comedy, SPEAK EASILY (1932), DVD, and cable television's Turner Classic Movies. (**)
Opening at a social function gathering by the swimming pool of a luxurious estate, the story begins with Virginia (Sally Eilers) refusing to marry Jeffrey Haywood (Reginald Denny) until her older sister by four years, Angelica (Dorothy Christy) marries first, so to spare her from being labeled an "old maid." Anxious to marry Virginia, Jeffrey offers to marry Angelica himself as a gesture. In the meantime, outside the estate is Reginald Irving (Buster Keaton) posting a sign on the telephone pole, observing Angelica in her bathing suit, and immediately liking what he sees. As Jeffrey drives off the estate, he accidentally hits the lovesick Reginald on the road. Taking the unconscious stranger upstairs to the bedroom where he's examined by a doctor, Angelica agrees to look after him until he's well again. Jeffrey stumbles upon an idea of getting Reginald together with Angelica, and does so by passing him off as an important "outdoors man," which soon arouses other women to take an interest in him as well. With Reginald and Angelica now engaged, Jeffrey and Virginia can make immediate plans for themselves. However, a week before the wedding, it is learned that Angelica refuses to marry Reginald due to he being truthful and loyal, not the type of man she'd prefer for a husband. In fact, she'd be happier having a husband she cannot trust so she add to the fun of being both suspicious and jealous. Jeffrey's next scheme is to hire Polly Hathaway (Charlotte Greenwood), his friend and gossip columnist, to go with Reginald at the Seaside Hotel where they are to register in a room as Mr. and Mrs. Smith. While there, Polly is to give him lessons in lovemaking ("Darling, I love you madly. I can't live without you. You must NEVER leave me"), as Jeffrey arranges for Angelica to walk in and catch them in the act, which would prove to her that Reginald can misbehave just like any other man. Complications occur as Angelica's friends, Nita Leslie (Joan Peers) and her career-minded husband, Frederick (Walter Merrill), having one of their frequent quarrels because he's away on business more than being with her. Wanting to make him jealous, Nita decides on going away with the first man she sees, who happens to be Reginald, who in turn, mistakes Nita for Polly, thus, heading over to the hotel where things don't go along as originally planned. Others seen in the cast include: Natalie Moorehead (Leila Crofton); and Sidney Bracey (Horace, the Butler).
While this would be the only movie pairing of Keaton and Greenwood, it's a pity they were more apart than together. It also makes one wish there was role switching, having Greenwood play a homely heiress of $8 million rather than the attractive Dorothy Christie to broaden the comedy situations, or having Keaton and Greenwood being a mix-matched married couple, or possibly casting her as a man-chaser as she did with Eddie Cantor in PALMY DAYS (1931). As it stands, PARLOR, BEDROOM AND BATH succeeds mostly on the gag material, including one lifted from Keaton's silent comedy, ONE WEEK (1920), changing a model home to car stuck on a railroad track, followed by an element of surprise. Chases provided are in the silent film tradition, minus any underscoring to set the tone and mood. Funny moments involve Cliff Edwards as the hotel bellboy stumbling upon Keaton kissing different women every time he enters the room. Edward Brophy as the hotel detective adds to some fairly good the amusements as well. Still a pratfall lovesick saphead with a sad face, Keaton does whatever he can to give this movie any substance of comedy material to make it work. Occasional laughs here and there, but they are infrequent.
PARLOR, BEDROOM AND BATH began turning up frequently on television around the 1980s when broadcast mostly on public television. It even played as a 45 minute featurette in a weekly televised series, "Matinee at the Bijou," before turning up on video cassette (some 1990s prints on a double bill with Keaton's other MGM comedy, SPEAK EASILY (1932), DVD, and cable television's Turner Classic Movies. (**)