Matialth Good concept, poorly executed.

Console best movie i've ever seen.

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

peefyn As a viewer with limited experience with Buster Keaton, this was a great place to start. I've seen clips and references to his movies lots of times, but hardly seen any of the movies themselves. This one has it all: good physical gags, warm characters, acrobatics and Keaton's straight face. He shares the scene with Sybil Seely, who also does a great job. Especially the "flipping wall" stunt with both of them is marvelous. In addition to the performances from the actors, the set itself is quite impressive. An almost avant garde-ish house, built on a turntable, is almost as much a character in the story as the two leads.While the story has a villain, he is only a bit player, setting things into motion. Keaton and Seely are the stars, and I love how the story doesn't resort to playing them up against each other. They are a team all the way through the movie, working together and forgiving each other, only fighting the house.I figured that the movie was a satire on "construction set"-houses, but it turns out to be a straight up parody of a video about these houses. This explains the format of the flick itself, with the hand pulling of sheets from the calendar, etc.Also: I find it fascinating that we do not know who played the villain in this flick. I refuse to believe that the answer is lost, and I look forward to the day it is found.

ackstasis 'One Week (1920)' was the first of Buster Keaton's independent two-reelers, though 'The High Sign (1921)' was filmed first and shelved until the following year. The story starts out where most romantic comedies end: with a picturesque wedding ceremony, during which adoring friends and relatives toss confetti and, oddly, second-hand footwear. The lucky groom (Keaton) and his bride (Sybil Seely) strike out for their new home, purchased by a well-meaning uncle. Of course, only in a Keaton short must the husband and wife be forced to construct their own house, utilising a do-it-yourself kit that goes awry when the bride's former lover switches the numbers around. The resultant dwelling would not have looked out of place in 'The Cabinet of Dr. Caligari (1920),' though Keaton is evidently proud of his handiwork, and is thus prepared to overlook the most minor of blunders (such as having the front door on the second-floor). This short served as a trial-run of sorts for the feature 'Steamboat Bill, Jr. (1928),' for here we see an early version of Keaton's famous "saved-by-the-window" falling wall stunt.'One Week' is one of Keaton's finest shorts, with no shortage of imagination, and a continuous string of episodic gags. In one scene, our hero rather coarsely knocks out a traffic policeman, and it's probably no coincidence that the victim is a Charles Chaplin-lookalike. Many of the Keaton's films utilise aspects of engineering, such as 'The Electric House (1922),' in which the actor is commissioned to update a client's home with state-of-the-art technology. In 'One Week,' the product of Keaton's labours doesn't appear quite so impressive, though the house does misbehave is equally hilarious ways. In a vigorous windstorm, the entire building is transformed into a deliriously-spinning carousel, the inhabitants thrown across the room with almost brutal centrifugal force. Leading lady Sybil Seely impressively keeps up with Keaton's comedic antics, even contributing a few laughs of her own, rather than serving only as a beautiful romantic interest. Not that Seely didn't have the "beautiful" aspect covered, the film's show-stopping moment seeing the actress drop her bar of soap while bathing in the tub. A modest cameraman's hand spares us the details, however.

JackBenjamin Building a marriage and a life is a lot like building a home. No one knows quite what to do and directions are unreliable. You can end up with a Norman Rockwell house, picket fence and all, or you can get the cubist deal, the Dionysian existence -- which do you think is more fun?This is Keaton at his absolute best. It's remarkable to think that it's the first release on which he had artistic control. He must have been supersaturated with creative energy and ideas at that point. The special effects and physical humor are staggering -- honestly, some of this stuff will drop your jaw.I wonder what the German Expressionists thought about it.

Clark Richards How is it possible that 19 minutes of film can hold so much clever, fast paced comedy? I was blown away by not only the overpowering visual effects that set off the whirlwind ending inside the house, but also by some of the little touches that can be found throughout the film. There's one scene in particular that stuck with me as one of those fantastic little touches, it's when the bride (Sybil Seely, what a great name) is in the bathtub taking a bath and she accidentally drops the soap. As she innocently reaches over to pick the soap up from the bathroom floor, the cameraman sticks his hand over the lens to insure her privacy from those watching the movie. In a movie where there's a lot of wall building, it is a scene like this one where Buster successfully knocks down the proverbial fourth wall of film-making.There's really no point in trying to describe the amazing sight gags, the breath taking gymnastics and pratfalls that are all staples of a Buster Keaton comedy, you should just watch it for yourself. And as far as early Buster Keaton films are concerned, this one is a MUST SEE.10/10. Clark Richards