Classic Keaton, Classic Comedy

Its rarity makes Convict 13 a treat. But it's sad that the MFA series doesn't include Keaton's early shorts with Fatty Arbuckle, sprightly and irreverent formative works such as Coney Island and Backstage. These loosely plotted, gag-heavy films show Keaton having a fine time exploring the new art form, and finding his balance in film. Expect the Arbuckle shorts from Kino in '96 or '97.

Meanwhile, the MFA series provides enough examples to show Keaton was a complete master of his chosen medium. Those uncertain about the value of Keaton's official "best" features should note the influence of some of Keaton's other comedy. During his down time (roughly 1930 until his death in 1966), he was busy, albeit underpaid. Marx Brothers movies, Red Skelton movies and I Love Lucy all employed Keaton as a gagman. He made a decent, if not glamorous, living working out bits of business for screen comedies and, according to Lucille Ball, all the physical comedy on her TV show.

You could go to the MFA series, buy a film pass and see every single movie, to be in the vanguard, to know what's what in cinema comedy. Or you could go because Keaton made magnificent movies. Keaton doesn't push buttons -- he's never mawkish or obvious. He discreetly presents a solemn man in astonishing situations, creating films that make you laugh until your ribs hurt, and leave you with a tender ache of melancholy.

Buster's Birthday: A Keaton Centennial Celebration plays Fridays and Sundays through June 25 at the Museum of Fine Arts, 1001 Bissonnet. 639-7515.