Colibel Terrible acting, screenplay and direction.

Mjeteconer Just perfect...

FeistyUpper If you don't like this, we can't be friends.

MoPoshy Absolutely brilliant

Michael_Elliott Neighbors (1920) *** (out of 4) Buster Keaton does the Romeo and Juliet storyline as he falls in love with his neighbor but it'll be hard to get married since the families hate one another. There are plenty of good gags here including the human fly swatter gag and the stuff dealing with Keaton trying to avoid the police. Keaton also delivers one of his best stunts and three people on one another's shoulders try and walk from house to house with Keaton being three stories up.Available on Kino's The Art of Buster Keaton Collection, which is one of the greatest box sets out there.

MartinHafer Buster is in love with his next door neighbor, but her father hates Buster and won't allow them to see each other. As a result, again and again, Buster does a lot of crazy stunts in order to see her--as well as eventually kidnap her so they can elope. The stunts are amazing and this is a very good movie. However, if it weren't for all his better brilliant films, I might have scored this a bit higher. But films such as STEAMBOAT BILL, JR., COPS, OUR HOSPITALITY and THE PLAY HOUSE (among others) are simply better than NEIGHBORS. So, I would recommend you try watching these other films and then come back to it. Still, it's enjoyable and fun.

wmorrow59 A viewer who has never seen a Buster Keaton comedy might get the wrong idea of what to expect from this film's introductory title card, which reads: "The Flower of Love Could Find No More Romantic Spot in Which to Blossom Than in This Poet's Dream Garden." We are then shown a grungy courtyard between two tenement buildings divided by a fence, and on opposite sides of the fence we find The Boy (Buster) and The Girl (Virginia Fox), sweetly in love but kept apart by feuding parents. But fear not, for the flowery wording of that introduction is meant in jest: Neighbors is no exercise in Griffith-style sentimentality about poor people. (For one thing, if D.W. Griffith had directed this he'd have called it "Romeo & Juliet of the Slums" or perhaps "Pyramis & Thisbe of Pig Alley.") This isn't a melodrama of life among the lowly, it's Buster in his youthful prime, and it's funny. There's action and comedy galore, and it's interesting to observe that the attitude expressed towards love and marriage is far from sentimental --which is a little surprising, considering that 24 year-old Buster was still a fun-loving bachelor when he made this movie.In any event, once the situation is established we are treated to a series of fast-moving gag sequences emphasizing the hostile relationship between The Girl's father (played by Buster's frequent screen nemesis Big Joe Roberts) and The Boy's father (played by Buster's own dad Joe Keaton). It is clear that the two fathers hold each other in contempt, and vigorously oppose any closer relationship between their respective families. There's a great example of Keaton's special brand of physical comedy early on when Buster attempts to visit Virginia in her third floor room. When he's caught by her father he promptly flings himself out her window, across a clothesline that leads to his own window across the way, down a banister and back across the clothesline to Virginia's building, right smack into Big Joe. The sequence flashes by in seconds and may leave you blinking in amazement, but before you can catch your breath Buster has been forcibly hung upside down by his feet from the clothesline, hauled back across the courtyard like dirty laundry, and then (accidentally) beaten by his father, who has mistaken his own son for a rug. Moments later, Buster is dumped head-first through a rain barrel into sopping wet mud. And so it goes! Welcome to This Poet's Dream Garden.Neighbors is a comedy better seen than described. At times it feels like a live-action Warner Brothers cartoon, but instead of Bugs Bunny and Yosemite Sam we're watching actual people perform these stunts. The premise of feuding families is a simple and effective framework for Keaton's terrific set-pieces. (He would return to the family feud motif on a much grander scale in Our Hospitality a few years later.) The rougher slapstick material is briefly held in check as the brawling families are dragged into court, chastised by a judge, and ordered to permit their offspring to wed. But needless to say the ceremony is a disaster, and the action resumes with a wild finale in which Buster and Virginia escape from their families to elope. The best gag sequence is saved for last, as Buster takes part in a three-man balancing act racing through the streets, a bit that required the participation of the Flying Escalantes, a team of acrobats Buster knew from his vaudeville days. Latter day cartoon directors such as Chuck Jones and Tex Avery often gave credit to the influential silent era comedians they'd admired as kids, and the finale of this film must surely have been the sort of thing they were talking about.While Neighbors may not rank in the very top tier of Keaton's output it's an exhilarating, highly amusing comedy that holds up well today. Besides, Buster's second-echelon efforts are better than most anyone else's masterworks!

raskimono Buster Keaton rarely played low lifes. He played naive or boyish aristocrats who were loners, friendless and lost in modern society with social malaise sewn into the seams. Here, he plays a mischievous imp, a character Chaplin perfected as the tramp and all hell lets loose. Obviously, he is in love with his neighbor, but the family is feuding though they share the same backyard. A billet-a-doux gets everything moving as mistaken identity and information leads to some yelling and scolding before the real truth is figured. "Old Stone face" himself as he was known unleashes some very nifty and nimble acrobatic moves as he slides up and down the electric lines and clothes hanger lines like a jabberwocky. A three man stunt is ridiculous to watch and leaves you applauding and marveling at his genius.