Not to be confused with the similar sounding title as Charlie Chaplin's ONE A.M. (Mutual, 1916) , ONE WEEK (Metro, 1920), written and directed by Buster Keaton and Edward Cline, stars the legendary "stone face" of Buster Keaton in one of his true gems of silent comedy (20 minutes) produced during the early 1920s. Next to COPS (1922), ONE WEEK is one of the prime examples of Keaton's comic genius. After two years supporting Fatty Arbuckle in his series of comedy shorts (1917-1919), Keaton gets to star in what's classified as his first solo effort. The plot, supposedly taking place in a span of one week involving two nameless newlyweds, consists of individual sketches opening and closing through the tearing off of a calendar day sheet followed by the introduction to the next day's activity.
Opening title: "The wedding bells have such a sweet sound but such a sour echo." Calendar fade in: "To-Day is Monday the 9th" (no month, no year given): It's Buster's wedding day, with he and his bride (Sybil Seely) exiting from the church surrounded by rice-throwing guests with the exception of one, Handy Hank, a rejected suitor. Before the day's end, the couple arrive on Apple Street where their home, Lot 99, turns out not to be a house with parts assembled in a huge box the from Portable House Company with Buster having to assemble himself. "TUESDAY the 10th" As Sybil prepares breakfast, Buster assembles his new home by the numbers. Not far away is the Hank, who, without Buster's awareness, changes the numbers on the boxes. There's a now classic moment recaptured much later in Buster's feature-length comedy, STEAMBOAT BILL JR. (1928) involving a house fall. Watch for it; "WEDNESDAY the 10th," With the home nearly completed, appearing as if it had gone through a typhoon, a delivery man (Joe Roberts) arrives with a piano, followed by one of the helpers (possibly Al St. John, though there's no clarification to rectify this character nor the rejected Handy Hank) dangling from his head caught on the rooftop; "THURSDAY the 11th," Buster continues assembling his house while Sybil washes up on the bath-tub. Classic moment: A mysterious hand covering the camera lens as she tries to retrieve the soap dropped on the floor; "FRIDAY the 13th," Housewarming party with friends and relatives resulting to a heavy rain storm and house going around in circles in merry-go-round fashion; "SATURDAY the 14th," Buster discovers his home has been built on the wrong lot and must have it moved to its rightful place. "SUNDAY the 15th," Buster and Sybil attempt moving their home to the right location, resulting to a series of unforeseen circumstances in the classic Buster Keaton tradition.
Contrary to its title, the story doesn't take place entirely for one week/seven days, which really doesn't matter. One question comes to mind - shouldn't the opening wedding scene been more appropriate on church day Sunday rather than a work-day Monday, and having his Monday the start of his work week assembling his home? Overlooking these minor flaws, ONE WEEK is a near-perfect Keaton comedy of frustration by which, Buster, unlike other comedians as Edgar Kennedy or Oliver Hardy, showing no moments of having a nervous breakdown. He simply takes it in stride and moves on to more frustrating episodes. That's our Buster.
Like the masterful work in COPS, ONE WEEK was a familiar item of silent comedy shown frequently on public television in the 1970s, notably WNET, Channel 13, in New York City, with prints from the piano scoring Killian collection. In fact, ONE WEEK preceded the 60 minute feature presentation of Keaton's COLLEGE (1927) as part of the 13-week series of THE SILENT YEARS (1975) hosted by Lillian Gish.
Aside from various prints on video cassette and DVD formats with organ or jazzy underscoring, ONE WEEK has appeared on cable television, most recently on Turner Classic Movies with orchestral score not quite suitable for this style of comedy. Regardless of its age, ONE WEEK holds up remarkable well, especially for Keaton devotees. First time viewers certainly will remember this within an hour, a day, or even one week after watching it. ONE WEEK sure has that certain something with lasting appeal, that certain something being the one and only Buster.
一、基顿的喜剧基本风格
似乎所有的人都知道卓别林这位喜剧演员，但似乎并没有多少人知道还有一位与卓别林一样优秀的喜剧演员名叫巴斯特基顿。在每一个优秀喜剧演员评选中，卓别林与基顿两人都是一对冤家，他们两人轮次占据第一名的位置。这个十年最优秀的喜剧演员是卓别林，下一个十年最优秀的喜剧演员就会是基顿。
根据陈佩斯的多年研究，喜剧的基础是一个带有悲剧内核的人物。卓别林的每一个角色都很好的体现这一点，同时，卓别林也在用镜头去突出这一点，他知道如何用特写镜头或远景镜头体现人物的该表现出的情感，《城市之光》最后的特写就是最好的证明。
但基顿似乎走的是一条截然相反的道路，虽然我们也能从基顿的角色身上看到悲剧内核，但基顿似乎总是有意弱化这种悲剧内核，他要带给观众的不是卓别林那种五味杂陈的喜剧，而是一种只为让你快乐的最纯净的喜剧。
二、危险系数大的动作
说基顿是成龙的祖师爷一点也不过分，基顿的电影中常常可以看到成龙式的动作，而且难度系数和危险系数一点也不必成龙的动作小。而且两人在拍摄过程中都是自己亲身上阵不用替身。正因如此，基顿才为我们带来一次次的震撼与感叹。
基顿本身也和成龙一样是戏团出身。在拍摄之前，基顿会和工作人员把即将做的危险动作排练成熟，当所有准备都很充分的时候才会正式拍摄，争取在拍摄过程中一次性的过关。由于危险性，基顿也会对器材的要求极其严格。
三、标准三幕剧结构和超前的想法
基顿的每一部电影都严格按照三幕剧这种极其古老的戏剧结构，这种结构也是古典叙事的基础。三幕剧从时间上大概可以分为¼、½、¼，前面¼是故事的开端与人物介绍，中间½是冲突的加大与戏剧性的提升，最后¼是高潮与结局的到来。纵观基顿的每一部电影或短片，无不是按照这种结构进行剧情发展的。
同时基顿的思想也是超前与自由的，例如在本片中对看不见的第四堵墙的打破和立体主义思想，直接对戏剧传统进行了挑战。而在《将军号The General》中，基顿把三幕剧结构与对称的剧情结合起来，在中间½的中间进行对称化处理，使影片的剧情结构出类拔萃。
以上三点使得基顿的影片在今天看来仍能使观众感到兴奋，因为除了基顿以外，能同时做到以上三点的影片几乎不存在的。而更难能可贵的是基顿的思维超越了他所属的默片时代，也能让属于商业片时代的我们感到满足，仅这一点，就超越了同时代的大多数人。
我们只能感叹基顿是一个时运不济与生错时代的人，他与卓别林同样伟大但缺少了卓别林的怀旧气质，也因为政治思想不及卓别林丰富而不为我们这个时代所知。我们能做的就只有在欣赏过基顿影片并感到满足后向身边的朋友推荐基顿，让他人领略基顿带给人们的震撼与欢乐。
Not to be confused with the similar sounding title as Charlie Chaplin's ONE A.M. (Mutual, 1916) , ONE WEEK (Metro, 1920), written and directed by Buster Keaton and Edward Cline, stars the legendary "stone face" of Buster Keaton in one of his true gems of silent comedy (20 minutes) produced during the early 1920s. Next to COPS (1922), ONE WEEK is one of the prime examples of Keaton's comic genius. After two years supporting Fatty Arbuckle in his series of comedy shorts (1917-1919), Keaton gets to star in what's classified as his first solo effort. The plot, supposedly taking place in a span of one week involving two nameless newlyweds, consists of individual sketches opening and closing through the tearing off of a calendar day sheet followed by the introduction to the next day's activity.
Opening title: "The wedding bells have such a sweet sound but such a sour echo." Calendar fade in: "To-Day is Monday the 9th" (no month, no year given): It's Buster's wedding day, with he and his bride (Sybil Seely) exiting from the church surrounded by rice-throwing guests with the exception of one, Handy Hank, a rejected suitor. Before the day's end, the couple arrive on Apple Street where their home, Lot 99, turns out not to be a house with parts assembled in a huge box the from Portable House Company with Buster having to assemble himself. "TUESDAY the 10th" As Sybil prepares breakfast, Buster assembles his new home by the numbers. Not far away is the Hank, who, without Buster's awareness, changes the numbers on the boxes. There's a now classic moment recaptured much later in Buster's feature-length comedy, STEAMBOAT BILL JR. (1928) involving a house fall. Watch for it; "WEDNESDAY the 10th," With the home nearly completed, appearing as if it had gone through a typhoon, a delivery man (Joe Roberts) arrives with a piano, followed by one of the helpers (possibly Al St. John, though there's no clarification to rectify this character nor the rejected Handy Hank) dangling from his head caught on the rooftop; "THURSDAY the 11th," Buster continues assembling his house while Sybil washes up on the bath-tub. Classic moment: A mysterious hand covering the camera lens as she tries to retrieve the soap dropped on the floor; "FRIDAY the 13th," Housewarming party with friends and relatives resulting to a heavy rain storm and house going around in circles in merry-go-round fashion; "SATURDAY the 14th," Buster discovers his home has been built on the wrong lot and must have it moved to its rightful place. "SUNDAY the 15th," Buster and Sybil attempt moving their home to the right location, resulting to a series of unforeseen circumstances in the classic Buster Keaton tradition.
Contrary to its title, the story doesn't take place entirely for one week/seven days, which really doesn't matter. One question comes to mind - shouldn't the opening wedding scene been more appropriate on church day Sunday rather than a work-day Monday, and having his Monday the start of his work week assembling his home? Overlooking these minor flaws, ONE WEEK is a near-perfect Keaton comedy of frustration by which, Buster, unlike other comedians as Edgar Kennedy or Oliver Hardy, showing no moments of having a nervous breakdown. He simply takes it in stride and moves on to more frustrating episodes. That's our Buster.
Like the masterful work in COPS, ONE WEEK was a familiar item of silent comedy shown frequently on public television in the 1970s, notably WNET, Channel 13, in New York City, with prints from the piano scoring Killian collection. In fact, ONE WEEK preceded the 60 minute feature presentation of Keaton's COLLEGE (1927) as part of the 13-week series of THE SILENT YEARS (1975) hosted by Lillian Gish.
Aside from various prints on video cassette and DVD formats with organ or jazzy underscoring, ONE WEEK has appeared on cable television, most recently on Turner Classic Movies with orchestral score not quite suitable for this style of comedy. Regardless of its age, ONE WEEK holds up remarkable well, especially for Keaton devotees. First time viewers certainly will remember this within an hour, a day, or even one week after watching it. ONE WEEK sure has that certain something with lasting appeal, that certain something being the one and only Buster.
这是一部喜剧默片，没有一句话，完全靠主角的动作来挑动观众的神经。
主角的脸永远平静，面无表情，像一张空白的画纸，观众可以根据他的境遇，将自己的害怕与希望，揪心与反转，紧张与惊喜敷上去。
每一个电影场景都在表达着最有力量的道理：站在社会中最普通的小人物的角度来看，挫折是生活的调味剂，无论好事坏事，无论自己被怎样的困境围拢，人们总应积极找准方向，看过去，抓住跳跃的时机，靠智慧勇敢的穿越过去，最终迎接惊喜的胜利。
电影全程无尿点，自己也被一个接一个的紧密的惊喜反转和想象力惊叹到！
蓄意破坏的舅舅。导致房子非常立体主义，有点达利画作的感觉。
新居宴请亲友。
浓情蜜意的新婚燕尔，可爱的一箭穿两心。伸出来遮盖镜头的手，让新娘好捡掉在地方的肥皂，打破了第四堵墙。
基顿的艺术性喜剧性远远高于卓别林的政治性和社会性诉求。看过基顿的电影之后，卓别林从此成为了路人。
【一周 ONE WEEK】n乘着午饭时间看的小短片n有趣的喜剧默片n脑洞大开 有很多此时无声胜有声的笑点n看到时间轴就想到了都灵之马n但是和都灵之马氛围可完全不一样n印象最深的是女主捡肥皂时候破了第四堵墙n还有暴风雨中旋转的房屋比喻成旋转木马 有很多冷幽默和荒诞的点很有意思
过程男女主构建婚后生活的画面很有意思
其实很可爱很甜