一周

【一周 ONE WEEK】 乘着午饭时间看的小短片 有趣的喜剧默片 脑洞大开 有很多此时无声胜有声的笑点 看到时间轴就想到了都灵之马 但是和都灵之马氛围可完全不一样 印象最深的是女主捡肥皂时候破了第四堵墙 还有暴风雨中旋转的房屋比喻成旋转木马 有很多冷幽默和荒诞的点很有意思

过程男女主构建婚后生活的画面很有意思

其实很可爱很甜

这是一部喜剧默片，没有一句话，完全靠主角的动作来挑动观众的神经。

主角的脸永远平静，面无表情，像一张空白的画纸，观众可以根据他的境遇，将自己的害怕与希望，揪心与反转，紧张与惊喜敷上去。

每一个电影场景都在表达着最有力量的道理：站在社会中最普通的小人物的角度来看，挫折是生活的调味剂，无论好事坏事，无论自己被怎样的困境围拢，人们总应积极找准方向，看过去，抓住跳跃的时机，靠智慧勇敢的穿越过去，最终迎接惊喜的胜利。

电影全程无尿点，自己也被一个接一个的紧密的惊喜反转和想象力惊叹到！

新婚夫妻买了一栋房子，却不料无良奸商要他们自己按照说明书组装，过程中各种意外，还给人捉弄。好容易房子装起来了，邀请亲友来作客，屋漏兼逢连夜雨，狂风把房子搞得不成样子。更倒霉的是人家告诉他们地址有误，他们现在的99号是火车路的编号，他们买的房子地段是66号。无奈之下只好搬房子，基顿想到一个天才的主意：整体平移（这可是当今保留文物建筑用的招数哪）。眼看就要成功，却停留在了铁路之上。这时候火车来了……小两口一劫又一劫都挺过来了，以为总可以甜蜜享受婚后生活，生儿育女，不曾想千躲万躲都没有躲过去。

这个片子太黑暗了，看不到希望。还好夫妻都好好的，只要活着，就仍然有希望。

会不会当年美国的房产很多都是这种木头组装，可以自己装，也可以包装（当然要给钱），或者自己请人装？

女主在里面露了半边胸。然后居然有人用手挡住了镜头，是导演吗？这个处理有点让人出戏，但够无厘头。

基顿真是用生命在演戏，各种高空摔倒，成龙厉害，基顿也一点不差。成龙是动作（打斗）喜剧，基顿也是动作（活动）喜剧。

基顿的喜剧还有不少无厘头在。所以，基顿既是动作喜剧的先驱，也是无厘头的先驱！

钉汽车靠背准备挪动房子那一刹那最赞。

旋转的房子是经典画面。想起希区柯克的旋转木马大战。

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.