The Scarecrow opens with a lengthy practical effects sequence. Buster Keaton and Joe Roberts are roommates and they have an elaborately designed “concise” home. It’s like IKEA’s dream, only with manually pulled ropes instead of some kind of remote control.
(There’s also a gag Chaplin had, a year later, in The Kid).
Turns out the roommates are in love with the same girl (Sybil Seeley, who’s appealing with nothing to do). Somehow, this love triangle results in Keaton getting chased by Seeley’s possibly rabid dog while both he and Roberts run afoul of her father (played by Joe Keaton).
The automated home alone would be enough of a gag for an entire short, the dog chase would be enough for an entire short, but then directors Keaton and Cline turn it all into a runaway romance and chase picture. The Scarecrow’s a breathtaking achievement of technique, practically and narratively.
Written and directed by Edward F. Cline and Buster Keaton; director of photography, Elgin Lesley; released by Metro Pictures Corporation.
Starring Buster Keaton (Farmhand), Joe Roberts (Farmhand), Sybil Seely (Farmer’s Daughter) and Joe Keaton (Farmer).