Hard Luck starts as a… failed suicide attempt comedy. Nothing morbid, just absurd and slapstick. And a little dumb. Star, director, and writer Keaton always has dangerous ideas for ending his life, but never particularly good ones. There’s a lot of physical humor from Keaton during this section; situational physical comedy. Most of it is smaller scale, behavior gags. Keaton’s got some amazing stunts in the short, but they’re for little things the narrative requires to keep the situational comedy going. The way he jumps out of the way and whatnot. Hard Luck is micro-physical comedy. At least for the average Keaton. Rare grandiosity. Usually, Keaton and co-writer and co-director Cline keep it pared down. The first act has a lot of Keaton interacting with other actors, a lot with other actors reacting to him.
Keaton’s great at the little comedy moves. He’s charming and sympathetic while still seeming a bit dumb.
And then when he’s not actively trying to kill himself, he stills gets into quite a bit of trouble, leading to a somewhat different feel for the gags. They do get bigger, but with Keaton and Cline very subtly pacing them out. They percolate then explode.
Virginia Fox plays the society girl who catches Keaton’s eye before going on to catch the eye of outlaw Joe Roberts. Roberts’s pursuit of Fox is downright terrifying; Roberts comes into the short late and has no character motivation other than to attack Fox (his men are busy robbing her friends in the other room). Keaton’s showdown with Roberts is smaller scale gags again, but a (literal) explosion by the end.
Besides the solo slapstick and measured physical gags, there are also many involving animals (great and small). Hard Luck is full of big laughs, little laughs, big smiles, little smiles. Despite the dark opening, it’s pleasant once it gets going. Keaton and Cline are meticulous in their direction and assured in the film’s production. The short isn’t pompous or anything and it never self-aggrandizes, but if it wanted to do either, it could easily get away with it. Because Hard Luck is hilarious.
Keaton’s also very willing to embrace the absurd. It helps remind at the beginning we’re not watching a suicidal young man, rather Keaton in a slapstick comedy about a suicidal young man. The narrative distance feels instinctive, with Keaton and Cline staying relatively close but also skewed enough they can get away with Keaton’s plight being for laughs. It does, of course, help they’ve got so much great stuff in store for the rest of the short. Its energy can’t afford to fizzle.
And it doesn’t, not even at the very end, when Hard Luck takes a few breaths before delivering its final punchline.
Keaton’s great, Fox’s fine, Roberts’s hilarious (but still dangerous). There’s not much character for Fox or Roberts, but it doesn’t matter—Hard Luck doesn’t leverage everything off Keaton (but could). He delivers lots on his own, but even more as he fits into the somewhat rigid framework of the story. The short is brimming with energy and potential.
It’s a great success.
Written and directed by Edward F. Cline and Buster Keaton; director of photography, Elgin Lessley; released by Metro Pictures Corporation.
Starring Buster Keaton (The Boy), Virginia Fox (The Girl), and Joe Roberts (Lizard Lip Luke).