Three Ages

Plot

Three Ages presents a clever triptych narrative following the same basic love triangle across three distinct historical periods. In the Stone Age segment, a weak caveman (Buster Keaton) competes with a brutish rival (Wallace Beery) for the affection of a beautiful cave girl (Margaret Leahy), facing challenges like dinosaur encounters and primitive golf. The story then shifts to ancient Rome where Keaton portrays a humble charioteer challenging Beery's mighty Roman soldier for the hand of a noblewoman, culminating in an absurd chariot race using dogs instead of horses. Finally, in the contemporary 1920s setting, Keaton plays a young man struggling to win his beloved's heart from Beery's wealthy character, confronting modern obstacles including traffic jams and a comically fragile automobile. Throughout all three ages, the film explores the timeless nature of romantic rivalry and the enduring qualities of love, courtship, and competition.

Historical Background

Three Ages was produced during a transformative period in American cinema when the industry was transitioning from shorts to feature films. In 1923, Hollywood was establishing itself as the global center of film production, and comedians like Charlie Chaplin and Harold Lloyd were successfully making the leap to features. The film also emerged during the Roaring Twenties, a period of rapid modernization and technological progress in America, which Keaton satirizes in the contemporary segment. The year 1923 saw significant developments in film techniques and the solidification of the studio system, with Metro Pictures Corporation (which would later become MGM) backing Keaton's feature debut. The film's parody of 'Intolerance' reflected contemporary audiences' familiarity with earlier cinema classics, while its examination of modern anxieties about technology and urbanization resonated with 1920s viewers experiencing rapid social change.

Making Of

The production of Three Ages represented a significant risk for Buster Keaton, who had built his reputation on short films. Keaton and co-director Edward F. Cline developed the innovative three-part structure as both a creative experiment and a financial safety net. The Stone Age sequences required extensive set construction and prop creation, with the art department designing primitive tools and costumes based on archaeological knowledge of the period. For the Roman sequences, the production team built detailed sets including a miniature Colosseum backdrop. The most challenging sequence was the contemporary traffic jam, which required coordinating multiple vehicles and extras on actual Los Angeles streets. Keaton insisted on performing his own stunts throughout, including a particularly dangerous sequence where he falls from a building while trying to escape his rival. The film's rapid production schedule of just 12 weeks was remarkable for its complexity, with the crew often working on different segments simultaneously to meet deadlines.

Visual Style

The cinematography by Elgin Lessley and Devereaux Jennings employed innovative techniques to distinguish between the three time periods while maintaining visual cohesion. The Stone Age sequences used soft focus and warm tones to create a primitive, dreamlike quality, with careful lighting to emphasize the textures of rock and cave interiors. The Roman segments featured sharper, more classical compositions reminiscent of historical epics, with grand architectural elements and strategic use of shadows to create dramatic depth. The contemporary scenes employed more mobile camera work and dynamic framing to capture the chaos of modern urban life, particularly in the traffic sequence. The cinematographers used varying film stocks and processing techniques for each segment, creating distinct visual palettes that helped audiences immediately identify the time period. Notable techniques include creative use of forced perspective for the dinosaur scenes and innovative tracking shots during the chariot race sequence.

Innovations

Three Ages showcased several technical innovations for its time, particularly in its use of special effects and editing techniques. The stop-motion dinosaur sequence represented an early use of this technology in feature films, requiring meticulous frame-by-frame animation. The film's parallel editing between the three time periods was technically sophisticated for 1923, requiring precise timing and coordination to maintain narrative coherence. The production team developed innovative camera rigging for the chariot race sequence, allowing dynamic tracking shots that followed the dog-drawn chariots. The contemporary traffic jam scene required complex blocking and coordination of multiple vehicles and extras, demonstrating advanced understanding of cinematic spatial relationships. The film also featured creative use of matte paintings and miniatures to establish the different historical settings, techniques that were still relatively new to cinema in 1923.

Music

As a silent film, Three Ages was originally accompanied by live musical scores performed in theaters. The original score cues suggested dramatic music for the competition scenes, romantic themes for the courtship sequences, and comedic stinger music for Keaton's gags. Modern restorations have featured newly composed scores by artists such as the Alloy Orchestra and Robert Israel, who have created period-appropriate accompaniments that enhance the film's emotional and comedic beats. The contemporary release on home video includes multiple score options, allowing viewers to experience the film with different musical interpretations. The music typically incorporates elements ranging from primitive percussion for the Stone Age segments to classical themes for the Roman scenes and jazz-influenced pieces for the 1920s sequences.

Memorable Scenes

• The Stone Age golf sequence where Keaton uses rocks as golf balls and clubs, demonstrating his character's ingenuity in primitive conditions
• The Roman chariot race with dogs instead of horses, showcasing Keaton's ability to create comedy through absurd substitutions
• The contemporary traffic jam scene where Keaton's character navigates a chaotic intersection in his fragile automobile, culminating in the car falling apart piece by piece
• The dinosaur encounter in the Stone Age where Keaton must escape from a prehistoric monster using stop-motion animation
• The final scene where Keaton's character successfully wins his beloved's hand in all three time periods, demonstrating the triumph of persistence

What Critics Said

Contemporary critics generally praised Three Ages for its inventive structure and Keaton's comic genius. Variety noted that 'Keaton has made the successful transition to features without losing any of his comic timing or inventiveness.' The New York Times highlighted the film's clever parallel structure, calling it 'a most amusing and well-constructed comedy that proves Keaton's talents are not limited to short subjects.' Modern critics have come to appreciate the film even more, with many considering it an underrated masterpiece of silent comedy. The Criterion Collection release notes emphasize how the film 'anticipates modern cinema's fascination with parallel narratives and temporal juxtapositions.' Film historian David Robinson has called it 'a remarkably sophisticated debut feature that showcases Keaton's understanding of cinematic language and his ability to sustain comedy across feature length.'

What Audiences Thought

Three Ages was well-received by audiences upon its release, who were eager to see their favorite short-subject comedian take on feature-length storytelling. The film's accessibility, with its clear three-part structure, made it particularly popular with moviegoers of the era. Contemporary theater reports indicated strong attendance and positive audience reactions, with many patrons particularly enjoying the Stone Age sequences and the chaotic traffic jam scene in the contemporary segment. The film's success helped establish Keaton as a major feature film star alongside Chaplin and Lloyd. In modern times, Three Ages continues to find appreciative audiences through revival screenings and home video releases, with many viewers discovering it as an entry point into Keaton's work. The film's timeless themes and visual comedy continue to resonate with contemporary audiences, proving that Keaton's humor transcends the silent era.

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