Six years after The Cabinet of Dr Caligari, came The General. Whilst we are still in the era of silent cinema as the talkies were just a few years away, we have a change in film. Many American film companies had move to Hollywood due to various weather types that meant filming on location was no longer a huge concern, cheap real estate as the location was mainly for growing oranges and there wasn’t a union for labour workers until the 1930s.
The General, co-written by the star of the film Buster Keaton, in comparison to The Cabinet of Dr Caligari is seen as more of a film with techniques used as it moves away from the mise-en scene been staged like a play. The camera is a technique of storytelling in The General opposed to just being a device used to record a story. The scene in which Keaton’s character is rejected by his love and sits on the train wheel which moves him like a rag doll is evidence of Keaton’s character techniques as the juxtaposition of the huge machine and this tiny body is comedy genius. The General features close ups, a note-worthy example is the scene in which Keaton’s character is under the table whilst trying to rescue his love, we first see a long shot of the table surrounded by the soldiers with the audience seeing Keaton’s feet, then cuts to a close up of Keaton’s face. The General also uses editing techniques, such as a match-on-action cut from a close up of Keaton’s face looking at a hole, to a point of view shot of the hole to see what he is looking at.
Could it be Keaton himself that had led critics to the emphasis on his talent? Whilst the techniques he uses in contrast to German films such as Faust (directed by F.W Murnau) are clearly more relatable to the majority modern films of today. The Scarlett Letter (directed by Victor Sjöström) was also released in 1926 and uses similar techniques to The General, suggesting that the praise of the film isn’t due simply to the techniques used but Keaton himself. The entire package of Keaton is mastery itself. The ongoing debate of who is better, Chaplin or Keaton, has been ongoing for decades and whilst Chaplin had the initial popularity and trademark character; Keaton also rivalled with his famous ‘Great Stone Face’. Both these performers were also directors and whilst the debate of the two is interesting, Chaplin and Keaton were both huge influences on film. Chaplin may have had the lead up until the revivals of Keaton’s films, upon the discovery; Keaton was given the praise he initially deserved. It’s clear that his techniques were great and helped set the standard for Hollywood, but Keaton’s persona of his characters and his imagery for his movies helps in defining him as a master of cinema.