When it comes to comedy, have a particular appreciation for the witty and sophisticated kinds, of which there are many classic examples out there. The same can be said for comedies that take a broad approach without being too juvenile or crass, am far less keen on those kinds of comedies and too many of them today overdo to puerile effect. There are many instances of silent films/comedies, seen with Charlie Chaplin, prime Laurel and Hardy and with Buster Keaton.

Have always considered Keaton one of the greats, as do a great many. It is a shame that he didn't transition as smoothly into the sound era from the silent as Chaplin and Laurel and Hardy, because in his prime (the 1920s) he was every bit as great, as funny and as likeable. His daring physical comedy and stoic deadpan expressions, that earned him the nickname of "The Great Stone Face", were unique and ahead of its time at the time and still amaze and are distinct now, plus he was a bigger risk-taker with bolder material and immense courage that most wish they could have. This was apparent in 'The General'. It is also every bit as apparent in his last fully independent film 'Steamboat Bill, Jr', one of his last "great" films and one of the crowning achievements of his whole career.

'Steamboat Bill, Jr' may not quite be the technical achievement that 'The General' is/was, but it still does look great. It is beautifully shot and designed but it's the effects and how they're used that stand out, it should be used as an example of how to have effects that still look good and like a lot of effort and care went into them and also use them properly, rather than overusing and abusing them to gratuitous effect with varied at best success as seen frequently now. The direction keeps things moving with control and balances everything beautifully.

In terms of the humour, 'Steamboat Bill, Jr' is a funnier film than 'The General'. It is never less than very funny, hilarious at its best, and the timing is spot on. The hat and jail cell scenes are the comedy highlights. Making more of an impression was the action and stunts, remarkably bold, leaving one in jaw-dropping awe and just exciting to watch. The cyclone, which still looks pretty impressive today, and house falling down on Keaton sequence sees Keaton stunts at their most spectacular and daring, a sequence that is justifiably famous and impossible to forget once seen.

Like 'The General', the story in 'Steamboat Bill, Jr' is a winner. It is easy to criticise its slightness and the slow start, they weren't issues for me actually because everything else that followed stick in the memory much more. There is a tender understated quality that is very surprising and the romantic element is genuinely charming without being sappy. The film also has a story that's easy to follow and at the same time is logical and interesting, indicating a film with brains as well as soul that treats the viewer with respect rather than getting irritated by credibility straining and logic lapses. Keaton as to be expected is superb here, not only is his comic timing on point but he once again provides a character that's endearing and worth rooting for. His physicality and how he copes with the stunts is awe-inspiring and he is one of not many to make deadpan interesting and entertaining because he still makes it very expressive and nuanced. Ernest Torrence is particularly good in support.

Overall, another Buster Keaton masterwork and one of his best. 10/10 Bethany Cox

I've always felt that Buster Keaton's Steamboat Bill, Jr. had a built in audience because when this film debuted on screen, the entire country was singing the songs of Jerome Kern and Oscar Hammerstein,II's Show Boat. In addition to that Mickey Mouse as Steamboat Willie was also making his debut around the same time. So the USA was definitely riverboat conscious.

Captain Andy on the Cotton Blossom never had a more dense apprentice than does Ernest Torrence who plays Buster's father. And Torrence has lots of reason to be concerned. Banker Tom McGuire is financing a brand new riverboat that is sure to put Torrence's boat to shame.

But in the Keaton tradition and in the tradition of his silent comic colleagues Chaplin and Lloyd, Buster is a total disaster on the boat and he's spending too much time courting Marion Byron who is McGuire's daughter whom he knew back in Boston That's no way to show family loyalty.

But also in that same tradition, Buster shows unexplained resourcefulness in the clutch. And in this film the crisis is a hurricane. The tornado in The Wizard Of Oz has nothing to match this storm. You will love the way Buster effects rescues of all the cast members, especially Torrence.

This was one of Keaton's best films. Not to be missed.

As far as full-length films go, this is about the best Buster Keaton ever did--with the possible exceptions of THE GENERAL and OUR HOSPITALITY. I really can't decide which re better and frankly, I don't think it's an important distinction. While THE GENERAL has a better overall story and is a little prettier film and OUR HOSPITALITY was his most beautiful and touching film, the shear magnitude of the hurricane scene and the amazing stunt work make STEAMBOAT BILL, JR. movie great. The most amazing scene is when the entire front of a building is torn away by the wind and it falls down on Buster--but it just happens that the window frame lands exactly where he stands and he is left unhurt. Considering this had to be timed PERFECTLY and he did his own stunts, this is amazing--he could have easily been severely hurt or killed. It has the finest and most amazing stunts in any film I have ever seen. A great story from start to finish with a nice conclusion where Buster saves the day (what else?).