Uneven but Endearing, Keaton Finds His Footing

Read Time:5 Minute, 33 Second

TV SERIES REVIEW
The Buster Keaton Show
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Genre: Comedy
Year Released: 1949, Liberation Hall Blu-ray 2025
Runtime: 5h 32m
Director(s): Arthur Hilton, Philippe De Lacy
Writer(s): Clyde Bruckman, others uncredited
Cast: Buster Keaton, Marcia Mae Jones, Harvey Parry, guest stars
Where to Watch: available now, order your copy here: www.mvdshop.com or www.amazon.com

RAVING REVIEW: Buster Keaton’s name is synonymous with silent comedy; his stoic expression and inventive stunt work have carved a permanent place in cinematic history. Yet by the late 1940s, his career was in decline. The golden era of silent film had ended, his star had faded, and his appearances were reduced to stage tours, occasional shorts, and guest roles. Then television arrived. For Keaton, the new medium offered something he thought he might never have again: a showcase for his own comedy. THE BUSTER KEATON SHOW, airing from 1949 into early 1950, gave him that chance. Though the series itself was short-lived, it remains an intriguing artifact of both television’s infancy and Keaton’s resilience as a performer.

This new Blu-ray release from Liberation Hall and MVD Entertainment brings nine surviving episodes back into circulation, along with rare bonus features and restorations overseen by archivist Jeff Joseph. For fans, it’s the kind of preservation effort that feels like a gift — a chance to rediscover material that was once thought lost, now presented in upgraded resolution. Of the original 13 episodes, only these nine survive, and two are particularly noteworthy: one unseen since its original airdate in February 1950, and another never before released on any format. The set also includes vintage shorts, such as COPS (1922) and THE GOAT (1921), providing a direct comparison between Keaton’s silent-era mastery and his early television work.

The show itself is a curious blend of old and new. Episodes often carried straightforward titles — THE BAKERY STORY, THE BILLBOARD STORY, THE DETECTIVE STORY — which served more as loose frameworks for Keaton’s physical routines than narrative vehicles. Unlike sitcoms that would dominate the coming decade, THE BUSTER KEATON SHOW didn’t have a laugh track or a studio audience to provide the tempo comedians rely on. The result is a strange quiet that sometimes undercuts the energy of Keaton’s slapstick. Watching him tumble, collide, and improvise in near silence makes something feel off, even though his instincts remained razor sharp.

And yet, there are flashes of brilliance throughout. In THE BAKERY STORY, Keaton revives gags reminiscent of his silent days, using props and simple setups to spin chaos out of nothing. In THE COLLAPSIBLE CLERK, his knack for physical comedy shines through as everyday tasks spiral into absurdity. Even decades after his prime, his ability to turn a room into a playground of mishaps hadn’t dimmed. At 55 years old, he was still taking falls, staging fights, and performing tricks that many younger comedians wouldn’t dare attempt.

The restoration brings out the charm of these kinescope recordings. The picture quality can only go so far — television in 1949 was primitive, and the limitations are visible — but the cleaned-up transfers allow the show to be appreciated rather than merely studied. Liberation Hall’s set also adds context, with the inclusion of a "This Is Your Life" segment and a Canadian TV special, "Three Comedians in Closeup," both of which highlight Keaton’s legacy even as he adapted to a changing entertainment world.

Critically, the show has always divided opinion. Some view it as a desperate paycheck gig for a fading star, with its awkward staging and lack of polish a stark contrast compared to Keaton’s legendary films. Others see it as proof of his adaptability, a pioneer moving into uncharted territory and finding ways to translate silent comedy into a live TV environment. The truth lies somewhere in between. The writing, often by Clyde Bruckman (who had collaborated with Keaton in the 1920s), can feel clunky, weighed down by setups that stall before Keaton enters. But once he takes over, his charisma and timing remind you why he was once considered Chaplin’s greatest rival.

Early television was ephemeral, with broadcasts disappearing into the ether, leaving no record. The survival of these episodes is a minor miracle, and their restoration ensures that Keaton’s foray into TV won’t be forgotten. Watching them today requires patience — modern audiences accustomed to fast-cut editing and canned laughter may find the silences jarring. Still, something is rewarding about seeing a comedy legend work in real time, adapting his craft to a new medium.

For casual viewers, this set might feel niche. The humor isn’t as consistent, and the technical quality is far from pristine. But for anyone interested in the crossover of TV/Film history, comedy preservation, or Keaton’s career, it’s essential. It shows a star in transition, at once vulnerable and brilliant, caught between the decline of one medium and the rise of another.

THE BUSTER KEATON SHOW isn’t about perfection. It’s about resilience. Keaton had nearly given up hope of another big opportunity, and yet here he was, reinventing himself once more. The series may not stand with his best work, but it captures a vital chapter in his story — one worth revisiting, preserving, and appreciating, even with its flaws.

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[photo courtesy of LIBERATION HALL, MVD ENTERTAINMENT]

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