The silent era’s most cinematic comedian, Keaton brilliantly merged slapstick humor (at once sophisticated and absurd), athleticism, a deadpan demeanor, and an understanding of the simultaneously mechanical and dream-like nature of the film medium. Andrew Sarris called Sherlock Jr. Keaton’s 8 ½, and the Surrealists also admired this unforgettable tale of a lovesick movie projectionist who dreams himself into the movie he is playing. Keaton’s ingenious visual effects play with cinema’s essential magic: its ability to (artificially) construct realistic temporal and spatial relationships—not to mention its influence on behavioral ideas, a power so enchanting that when the young projectionist awakes, his amorous interaction with his girlfriend is visibly inspired by the couples on the silver screen.

Keaton finds himself atop a balloon, lands in the wilderness, and encounters a young woman (Haver) camping nearby. Adventures ensue (and plenty of gags) as the two fend for themselves, Keaton all the while trying to win the girl’s affections.