【一周 ONE WEEK】 乘著午飯時(shí)間看的小短片 有趣的喜劇默片 腦洞大開(kāi) 有很多此時(shí)無(wú)聲勝有聲的笑點(diǎn) 看到時(shí)間軸就想到了都靈之馬 但是和都靈之馬氛圍可完全不一樣 印象最深的是女主撿肥皂時(shí)候破了第四堵墻 還有暴風(fēng)雨中旋轉(zhuǎn)的房屋比喻成旋轉(zhuǎn)木馬 有很多冷幽默和荒誕的點(diǎn)很有意思

過(guò)程男女主構(gòu)建婚后生活的畫(huà)面很有意思

其實(shí)很可愛(ài)很甜

新婚夫妻買了一棟房子，卻不料無(wú)良奸商要他們自己按照說(shuō)明書(shū)組裝，過(guò)程中各種意外，還給人捉弄。好容易房子裝起來(lái)了，邀請(qǐng)親友來(lái)作客，屋漏兼逢連夜雨，狂風(fēng)把房子搞得不成樣子。更倒霉的是人家告訴他們地址有誤，他們現(xiàn)在的99號(hào)是火車路的編號(hào)，他們買的房子地段是66號(hào)。無(wú)奈之下只好搬房子，基頓想到一個(gè)天才的主意：整體平移（這可是當(dāng)今保留文物建筑用的招數(shù)哪）。眼看就要成功，卻停留在了鐵路之上。這時(shí)候火車來(lái)了……小兩口一劫又一劫都挺過(guò)來(lái)了，以為總可以甜蜜享受婚后生活，生兒育女，不曾想千躲萬(wàn)躲都沒(méi)有躲過(guò)去。

這個(gè)片子太黑暗了，看不到希望。還好夫妻都好好的，只要活著，就仍然有希望。

會(huì)不會(huì)當(dāng)年美國(guó)的房產(chǎn)很多都是這種木頭組裝，可以自己裝，也可以包裝（當(dāng)然要給錢），或者自己請(qǐng)人裝？

女主在里面露了半邊胸。然后居然有人用手擋住了鏡頭，是導(dǎo)演嗎？這個(gè)處理有點(diǎn)讓人出戲，但夠無(wú)厘頭。

基頓真是用生命在演戲，各種高空摔倒，成龍厲害，基頓也一點(diǎn)不差。成龍是動(dòng)作（打斗）喜劇，基頓也是動(dòng)作（活動(dòng)）喜劇。

基頓的喜劇還有不少無(wú)厘頭在。所以，基頓既是動(dòng)作喜劇的先驅(qū)，也是無(wú)厘頭的先驅(qū)！

釘汽車靠背準(zhǔn)備挪動(dòng)房子那一剎那最贊。

旋轉(zhuǎn)的房子是經(jīng)典畫(huà)面。想起希區(qū)柯克的旋轉(zhuǎn)木馬大戰(zhàn)。

這是一部喜劇默片，沒(méi)有一句話，完全靠主角的動(dòng)作來(lái)挑動(dòng)觀眾的神經(jīng)。

主角的臉永遠(yuǎn)平靜，面無(wú)表情，像一張空白的畫(huà)紙，觀眾可以根據(jù)他的境遇，將自己的害怕與希望，揪心與反轉(zhuǎn)，緊張與驚喜敷上去。

每一個(gè)電影場(chǎng)景都在表達(dá)著最有力量的道理：站在社會(huì)中最普通的小人物的角度來(lái)看，挫折是生活的調(diào)味劑，無(wú)論好事壞事，無(wú)論自己被怎樣的困境圍攏，人們總應(yīng)積極找準(zhǔn)方向，看過(guò)去，抓住跳躍的時(shí)機(jī)，靠智慧勇敢的穿越過(guò)去，最終迎接驚喜的勝利。

電影全程無(wú)尿點(diǎn)，自己也被一個(gè)接一個(gè)的緊密的驚喜反轉(zhuǎn)和想象力驚嘆到！

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.