Free and Easy
"Buster's First Talkie! See Him! Hear Him! He's a Riot!"
Plot
Elmer J. Butts, a bumbling gas station attendant from Gopher City, Kansas, serves as the manager for beauty contest winner Elvira Plunkett as she travels to Hollywood with her domineering mother, Ma Plunkett. On the train ride west, they encounter suave movie star Larry Mitchell, who takes an interest in Elvira and promises to help her break into the film industry. Once in Tinsel Town, Elmer's attempts to navigate the MGM studio lot result in a series of chaotic mishaps, including disrupting actual film sets and accidentally crashing a high-profile movie premiere at Grauman's Chinese Theatre. In a surprising twist of fate, Elvira finds herself sidelined while the hapless Elmer and the formidable Ma Plunkett are the ones who actually land movie contracts. The film concludes with a bittersweet realization for Elmer, who achieves stardom as a tragicomic clown but loses the girl he loves to the leading man.
About the Production
The film was originally developed under the working title 'On the Set.' It marked a significant turning point in Buster Keaton's career as his first all-talking feature. MGM utilized the production to showcase their massive studio facilities and their roster of stars, effectively making the film a promotional piece for the studio itself. Because early sound technology was cumbersome, the film was also shot in multiple foreign language versions, including a Spanish version titled 'Estrellados' where Keaton recited his lines phonetically.
Historical Background
Released in 1930, 'Free and Easy' arrived during the chaotic transition from silent films to 'talkies.' Studios were desperate to find out if silent stars could adapt to sound, often forcing them into musicals to capitalize on the novelty of audio. The film reflects the 'Pre-Code' era of Hollywood, where censorship was less stringent, though it remains a relatively wholesome comedy. It also serves as a historical document of the MGM lot during its golden age, showing the physical reality of 1930s filmmaking technology.
Why This Film Matters
The film is primarily significant as the beginning of the end of Buster Keaton's creative independence. It represents the 'studio system' absorbing and often mismanaging the unique talents of independent silent era creators. However, it remains a vital piece of film history for its 'meta' depiction of Hollywood, providing a rare behind-the-scenes look at MGM's operations and its massive promotional machine during the early sound era.
Making Of
The production of 'Free and Easy' was a source of great frustration for Buster Keaton, who had recently lost creative control of his films after signing with MGM. Unlike his silent era work where he meticulously crafted gags, he was now forced to follow a rigid script and the instructions of studio executives like Irving Thalberg. The early sound recording equipment required Keaton to stay near hidden microphones, which severely limited his trademark physical agility. Director Edward Sedgwick, a close friend of Keaton, tried to incorporate some of Buster's ideas, but the studio's demand for dialogue-heavy scenes often overrode their comedic instincts. The 'Pagliacci' style finale was intended to give the film a prestigious 'MGM touch,' but Keaton felt it was too sentimental and out of character for his style of comedy.
Visual Style
The cinematography by Leonard Smith is typical of early sound films—somewhat static due to the need to keep actors near microphones. However, the film excels in its wide shots of the MGM lot and the vibrant, crowded scenes at Grauman's Chinese Theatre. The 'movie-within-a-movie' sequences use more elaborate lighting and set design to distinguish the 'real' world from the 'filmed' world.
Innovations
The film is notable for its use of the 'multi-language version' (MLV) production technique, where the same sets and director were used to film versions in different languages to avoid the poor quality of early dubbing. It also successfully integrated location sound recording at a real movie premiere, a difficult feat for 1930 technology.
Music
The soundtrack features the title song 'Free and Easy,' written by Roy Turk and Fred E. Ahlert. Other musical numbers include 'It Must Be You' and 'The Free and Easy Smear.' The music is characteristic of early 1930s musical comedies, featuring a mix of upbeat dance numbers and sentimental ballads.
Famous Quotes
Elmer J. Butts: 'Woe is me, the Queen has swooned!' (Repeatedly botched line during the screen test)
Ma Plunkett: 'Don't be a sap, Elmer!'
Larry Mitchell: 'In Hollywood, you're either a star or you're the person who parks the star's car.'
Memorable Scenes
- The Screen Test: Elmer repeatedly fails to deliver a single dramatic line, 'Woe is me, the Queen has swooned,' leading to physical chaos on the set.
- The Premiere: Elmer accidentally disrupts a real-life movie premiere at Grauman's Chinese Theatre, interacting with real stars of the era.
- The Finale: A surreal musical number where Keaton performs 'Free and Easy' while being manipulated like a puppet on wires, ending with a heartbreaking shot of him as a sad clown.
Did You Know?
- This was Buster Keaton's first starring role in a 'talkie' motion picture.
- The film features numerous cameos from MGM legends, including Cecil B. DeMille, Lionel Barrymore, and Jackie Coogan.
- Keaton actually sings and dances in the film, performing the title track 'Free and Easy.'
- The Spanish-language version, 'Estrellados,' features different supporting actors and some unique scenes not found in the English version.
- The character Elmer J. Butts is from Kansas, which is the actual birthplace of Buster Keaton.
- The movie premiere scene was filmed on location at the real Grauman's Chinese Theatre during an actual red-carpet event.
- Despite being a critical disappointment for Keaton personally, it was a financial success, outperforming many of his silent masterpieces at the box office.
- Robert Montgomery's singing voice was reportedly dubbed, whereas Keaton did his own singing.
- The film was remade twice: first as 'Pick a Star' (1937) and later as 'Abbott and Costello in Hollywood' (1945).
What Critics Said
At the time of its release, reviews were mixed; some critics praised Keaton's voice as being well-suited to his persona, while others lamented the loss of his silent grace. The New York Times noted that his 'audible performance is just as funny as his antics in mute offerings.' Modern critics are generally harsher, viewing the film as a 'stiff' and 'talky' production that failed to utilize Keaton's genius, though they often highlight the fascinating studio cameos and the historical value of the location shooting.
What Audiences Thought
Audiences in 1930 responded very positively, largely due to the novelty of hearing the 'Great Stone Face' speak for the first time. It was a major box office hit for MGM, proving that Keaton was still a bankable star in the sound era, even if his core fans felt the quality of the comedy had diminished.
Film Connections
Influenced By
- The Jazz Singer (1927)
- The Broadway Melody (1929)
- Show People (1928)
This Film Influenced
- Pick a Star (1937)
- Abbott and Costello in Hollywood (1945)
- Singin' in the Rain (1952)
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Film Restoration
The film is well-preserved in the MGM/Warner Bros. archives. It has been released on DVD as part of the 'Buster Keaton Collection' and is occasionally screened at film festivals specializing in early sound cinema.