#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – After her husband John McKay is killed in an ongoing feud with the Canfield family, a woman takes her baby boy Willie to her sister’s house in New York hoping he will never know of the feud with the Canfields. Twenty years later Willie is a grown man and he receives a letter saying he has inherited his father’s estate and must travel to his family home to take possession. On the train there he meets a beautiful young woman and falls in love only to learn that she’s a Canfield. He accepts her invitation to dinner and quickly realizes that the Canfield men won’t kill him while he’s in their home. His plan to stay there as a permanent guest is short-lived and the Canfields are soon after him.
Plot: A man returns to his Appalachian homestead. On the trip, he falls for a young woman. The only problem is her family has vowed to kill every member of his family.
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|7.8/10 Votes: 10,315|
|7.5 Votes: 157 Popularity: 9.564|
Great End Part, Otherwise Uneven
Although not Keaton’s greatest film, this one has sure got some really great moments. The build-up is rather slow while the main plot is being established: 1830s Kentucky. Keaton gets invited by a pretty girl to attend her family dinner. What he doesn’t realize until too late is that the family in question is his inherited mortal enemies in a blood feud that has been going on for centuries. The girl’s father and brothers all want to kill him but is prevented from doing so until he has left their house (hence the title).
Our Hospitality has got some amazing action sequences but the tempo is very uneven. The early part of the film treats us to some beautiful replicas of old vehicles including trains and bicycles and also some of Keaton’s usual train-rail comedy. The middle part, where Keaton guests his blood feud enemies is full of running in and out through doors. Up until now everything has been pretty slow. The last third of the movie though, is truly mind boggling! Keaton and a chasing gunman falls down cliffs, flows down rivers and waterfalls, jumps in and out of moving trains and so on while tied to each other with a rope around their waists. It must have been through watching this James Bond learned his action trade. Our Hospitality however, has also got a lot of comedy in its moments of unbelievable action.
Continuing to revise a mediocre first experience
Ironically, “Our Hospitality”, as the first Keaton picture I ever saw, was responsible for my dismissing his films for some time; if this ‘famous classic’ skated by me without appeal, how could the man be as great as everyone claimed him to be? Seeing it again from the perspective of a confirmed fan, I enjoyed it rather more — although I still think it was an unsuitable choice for introducing anyone to Buster Keaton. (A perspective reinforced during this performance by the child in a neighbouring seat who apparently required a distracting sotto-voce commentary throughout the screening: “What does ‘feud’ mean? Why is the track like that? Who’s that man?” — if you or your father are reading this, sonny, you know who you are!)
But — heresy of heresies — the film still doesn’t quite work for me, and I’m not sure why.
(Edit: Well, I eat my words! A year later, and third time lucky… I saw the film again, and all of a sudden it just ‘worked’. Had me enthralled and involved from start to finish, bathed in a gentle warmth of amusement and genuine thrills — the climactic sequence still brought gasps of horror and then cheers from the auditorium. Same film; same soundtrack; who knows what made the difference? A more sympathetic — or at least less distracting — audience, perhaps… or perhaps I’ve just mellowed in the last year.
Anyway, I hereby gladly upgrade my vote to an 8; I’m teetering on the verge of a higher rating, but I’m still not quite THAT emotionally involved by it!)
It doesn’t feature any obviously fake props, like the lion-suit in “Three Ages” or the swordfish in “The Navigator”: indeed, it showcases Keaton’s ‘do it for real’ approach, featuring the construction of a full-scale train that looks and acts like a toy, an actual reservoir and dam, and a fifteen-foot waterfall with a entire valley set constructed as backdrop. The stunts in the film’s finale are as death-defying as ever (a little too much so — his safety line parted during the rapids sequence and he was swept away for real on camera, while he had to be pumped out by a doctor several times when trying to film the waterfall scene).
The romantic element is somewhat atypical of the usual scenario, in that here he is not contending with the girl’s rejection but with that of her family, while she favours his suit throughout — one thing I did notice was that the kisses that feature in this film are rather more prolonged and tender than Buster’s usual clumsy on-screen peck. It’s tempting to wonder if this reflected the fact that his leading lady was, for once, his own wife; not only does their infant son feature in the prologue (and a very nice acting job the baby does too, I might add…) but Natalie Talmadge was actually carrying their second child during filming! The women in Keaton’s films do tend to be fairly interchangeable, but Natalie is appealing here in the romance, and effective in the handful of scenes she plays with Joe Roberts as her father.
The construction of the plot is meticulous. The elements that are key to the stunt sequence and its aftermath (parson, rope, train, river, waterfall) have all been introduced long before, serving different purposes; and as has been pointed out, the final scene picks up in essence the chain of events where the prologue was interrupted by the violence of Jim Canfield. The film offers a wide range of styles, from the straight melodrama of the opening scenes to the now-traditional action finale in the last reels, with moments of pure comedy in between as Buster attempts either to remain in his safe refuge or to escape. I think my favourite moment — perhaps because it echoes Keaton’s classic technique of comic misdirection, otherwise mainly eschewed in favour of a more organic approach — came in the very last shots of all, as our hero demonstrates an unexpected level of preparation!
But I do think it needs to be seen — as by original audiences — in the context of the star’s earlier work: to the man off the street, with no prior knowledge of the Keaton trademarks or the type of material he was trying to transcend, and no existing attachment to the character, it can come across as uneven in style and lacking in the expected humour. The pure comedy of the twenty-minute shorts makes for a better introduction.
Original Language en
Runtime 1 hr 5 min (65 min), 1 hr 5 min (65 min) (Spain), 1 hr 10 min (70 min) (UK), 1 hr 13 min (73 min) (1995 alternate), 1 hr 27 min (87 min) (copy with French titles at Brussels Musée du Cinéma) (Belgium), 1 hr 15 min (75 min) (Blu-ray)
Genre Comedy, Romance, Thriller
Director John G. Blystone, Buster Keaton
Writer Jean C. Havez (story), Clyde Bruckman (story), Joseph A. Mitchell (story)
Actors Buster Keaton, Natalie Talmadge, Joe Roberts, Francis X. Bushman Jr.
Awards 1 nomination.
Production Company Joseph M. Schenck Productions
Sound Mix Silent
Aspect Ratio 1.33 : 1
Film Length 1,895.85 m (7 reels) (USA)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm