Hellen I like the storyline of this show,it attract me so much

SunnyHello Nice effects though.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

MissSimonetta The Cameraman (1928) is Buster Keaton's last great film, before drink and MGM's misguided stifling of his creativity effectively ended his career as a director-star. It is about an aspiring newsreel man who seeks the love of a secretary at MGM studios (a little self-promotion never hurt Leo the Lion, it seems). He looks for any kind of action to capture on the streets, contends with a slimy rival for his lady love's affections, and befriends a monkey. Like Keaton's best films, we have his sly and dry humor, action scenes, and lots of imagination.Of course, the movie differs from Keaton's pre-MGM work in key ways: it is incredibly romantic in a way Keaton avoided being in his earlier work. The love stories in some of Keaton's earlier films are fraught with misery and seem to promise little lasting happiness for both partners. Other ones are more grounded though pleasant, such as in The Navigator and The General, where Keaton's heroes end up with feisty girls who are more like comic partners than passive love objects who wait impatiently for Buster to man up and win their respect. In TC, Marceline Day is a different sort of love interest for Keaton: she is sweet, an ideal, a light in the young cameraman's seemingly dreary and lonely existence. In The General or Sherlock Jr., the young hero is lovelorn but also independent. He can live with or without love, though he's willing to fight for love at all costs. Here Buster's character lacks that kind of toughness and seems more vulnerable. This vulnerability allows Keaton to show a little more tragedy in his acting than what we normally get to see and it is fascinating. No one who has ever seen this film can forget the "descent into the sand" scene, where Buster thinks he has lost the girl of his dreams forever. The heartbreak and longing in Keaton's eyes, hands, his posture are so potent that it shocks me that viewers still call him stone-faced and cold.But don't let us forget this is a romantic comedy and there are lots of laughs to be had. It's Keaton last great silent film, a sort of walk into the sunset for his golden age.

Christopher Reid There's so much creativity in this film. It's amazing to remember that this was made before maybe 99.9% of everything else (movies and TV) I've ever seen. There are stunts I've never seen before and lots of innovative shots and sequences.There's a powerful truth and subtlety to Buster Keaton's performances. It's not fake or forced or exaggerated, he doesn't even seem to be trying for laughs. His character isn't stupid but is often oblivious - he accidentally bumps things, misses details, gets things mixed up. Perhaps he's clumsy because he's so indifferent. He isn't careful because not many things matter much to him and he doesn't get hurt easily. But when he's set on achieving something, he does crazy, impressive, imaginative things and is seems almost unstoppable.Buster executes his stunts and physical comedy perfectly and yet it still all looks natural and accidental as if his character didn't mean it at all. That takes a huge amount of skill. He stays in character the whole time. And then his reaction afterwards is almost always mild. It doesn't need to be more, it's the concept that is hilarious. In spite of his efforts to learn from mistakes and avoid trouble, things always seem to go wrong. We've all had experiences like this so it's funny to see his confusion and frustration as he tries to figure out what's going on.His comedy isn't so much about anticipation as execution. We're not sure what's going to happen in a situation and often it's simpler and more primitive that what we might've guessed. But when it happens, it's always timed so well and looks incredibly graceful and comical. We're amazed and surprised while Buster just shrugs and moves on.The monkey is really cool, he must have been trained pretty well. The way he interacts with Buster is cute and awesome.The Cameraman is also fairly romantic. Buster falls in love and you see it in his eyes and posture. He goes into a daze. It's a simple and innocent thing that happens. The girl becomes all that matters to him and he does many things for her without asking anything in return. He sees her walking away with another man at one point and humbly accepts his fate. He may be the great stone face but he uses his body like few others so his emotional expression is not really limited at all. And of course his eyes express a lot. It's about mastery - he chooses to restrain his facial expressions and gestures but he has great control over what he *does* do, which is what matters.With modern comedies you hope for decent writing and acting and maybe a few big laughs. In a really good comedy, you might even get one or two pretty original moments. With Buster, you get a movie full of original ideas performed by a hard-working perfectionist. Buster's like a gymnast, a veritable comedy ninja.

Rickting Buster Keaton is easily my favourite filmmaker of the silent era. There may not be a word spoken in any of his movies, but they still speak to me a lot more than most 21st century comedy films. No-one does it like Buster Keaton; the fun plots, the gut bursting gags, the supremely silly, slapstick, the daring stunts. Definitely one of the greatest comedians of all time, and even though he himself rarely smiled his films will made pretty much everyone smile and might be the most accessible of all silent films. This is a less well known one and apparently it isn't available on DVD, but it should be watched. The plot is your average Keaton movie: A man tries to win the heart of a girl by becoming a successful cameraman. This one, admittedly not his best film, is a little similar to other Keaton outings and is slightly slow to start, but once it does the laughs are merciless and relentless.As usual, Buster Keaton is great as the main character and shows great technical skill as a filmmaker. The gags, especially a wonderful scene is a swimming pool, are winning and painfully funny. The Cameraman oozes charm throughout and once it gets going there's no stopping it. It's not as good as say, The General, Sherlock Jr or One Week, but it is another great silent comedy with heaps of laughter and fun. All the other actors and characters in the film are good as well, and the main character, while a bit of cliché in Buster Keaton films, is very easy to root for. In general, this is a very funny movie and one of those forgotten gems. Hopefully one day this will have a proper DVD release, as it really deserves it.9/10

lugonian THE CAMERAMAN (Metro-Goldwyn-Mayer, 1928), directed by Edward Sedgwick, is a comedy, a silent comedy featuring that "stoneface" comedian, Buster Keaton, in the title role. Though not essentially that of a cameraman working behind the scenes at a movie studio, but one working for an MGM newsreel company in New York City. Somewhat of a tribute to the newsreel profession, glorified by its opening title: "While acclaiming our modern heroes, let's not forget the news reel cameraman .. the daredevil who defies death to give us pictures of the world's happenings." Following a montage of newsreel events comes another inter-title, "And there are other types of photographers," before the introduction of that photographer, a man named Buster. Not Keaton, but Buster Shannon in the image of Keaton.Buster Shannon (Buster Keaton) is a tintype cameraman on the street corner earning ten cents per picture from anyone willing to stop and pose for him. He soon stumbles upon an reception followed by a crowd gathering the arrival of a female celebrity as she's being photographed by Harold Stagg (Harold Goodwin), a newsreel cameraman, along with his secretary, Sally Richards (Marceline Day). Buster's encounter with Sally becomes love at first site. After taking her photograph, free of charge, he finally locates her place of employment, and, through her act of kindness, lands a job at that establishment. Having to purchase his own camera at Abe Greenberg's Pawn Shop down the street, Buster goes around the city proving himself worthy of both job and Sally. Though Sally's not really serious about her jealous suitor, Harold, she does everything possible to encourage Buster. Feeling he hasn't a Chinaman's chance in obtaining enough footage covering a tong war, Buster acquires unexpected situations that not even he could have ever imagined.If the plot sounds overly familiar, it should, for that THE CAMERAMAN was reworked in both story and gags as a Red Skelton comedy retitled WATCH THE BIRDIE (MGM, 1950). As for Buster, not counting some of his earlier works at Metro and Metro-Goldwyn, his association with the MGM company actually began with GO WEST (1925) and BATTLING BUTLER (1926) as independent productions distributed by MGM. After a brief stint for United Artists (1926-28) where his masterpiece, THE GENERAL (1926), was produced, Keaton returns to the prestigious studio, where he was to remain for the next five years (1928-33). Of his MGM products, many highly regard both THE CAMERAMAN and SPITE MARRIAGE (1929) as his finest works. A pity Keaton's sound comedies weren't as promising as those aforementioned titles. A pity MGM didn't give Keaton the complete control needed for exceptional comedies. It is fortunate, however, that THE CAMERAMAN, once considered lost, to be available for viewing today. The inserted title cards reveals what nearly happened to this near classic motion picture during the course of time: "THE CAMERAMAN is a picture that was almost lost. The only film that has been available was duplicated from a print in France in 1969. An almost complete master positive made from the original negative was discovered in 1991 and is the source of that print. Portions of it are still from the old negative and the difference dramatically shows the value of proper film presentation."For THE CAMERAMAN, the Keaton style made famous in the twenties soon leaned towards a new creative Buster, MGM style. Keaton's pork pie hat was replaced by either a beret or cap. Though pathos was seldom part of Keaton's character to gain audience sympathy, for THE CAMERAMAN, it works. Great moments in Keaton comedy consist of pantomiming a baseball game playing all positions in the completely empty Yankee Stadium; Buster's struggles to open a piggy bank; he running up and down a long flight of stairs in his apartment building to answer the phone in the lobby; and best of all, Buster's first screen encounter with big and burly Edward Brophy in a tight scene where they attempt to change into bathing suits in a small bathhouse. (Take notice of a different burly man, not Brophy, leaving the bathhouse after that situation). Though Buster works basically alone as the man with a camera, he does acquire a sort of sidekick, that of a monkey who's annoyance as well as good deeds add to some really clever and creative comedy timing. The tracking of Buster holding onto his camera equipment as he grabs onto a speeding fire engine is certainly a classic film moment here. As much as THE CAMERAMAN has been presented on Turner Classic Movies since 1994, it actually made its world television premiere on Turner Network Television (TNT) March 16, 1992. Available with piano accompaniment on home video and cable television over the years, it wasn't until October 14, 2004, when TCM broadcast THE CAMERAMAN with new orchestration. Though the earlier piano scoring was far from being William Perry from the Killiam Silent Movie Collection, the new scoring currently in circulation and DVD indicates that someone should have left well enough alone. Aside from latest lackluster score, nothing negative can really be said about this Keaton classic, and how fun it is to see how everything fully develops for THE CAMERAMAN.(***)