The Passionate Plumber (1932) User Reviews

Not Keaton's best work, but interesting to see Durante and Maris

[gbill-74877 · 5/10 · 20 March 2018]

A weak plot, tired gags, and repetitiveness make this certainly one of Keaton's lesser efforts. It is amusing to see him running around (as it always is for me), such as early on when he races up the stairs with the maid. He has a duel scene, not doesn't quite getting the concept of the glove's use in a challenge. His first response is to whip the bath towel that he's using to cover himself with to slap his challenger back, as we hear the lady of the house shriek. Later he slaps people indiscriminately when they annoy him, and then instead of pacing the other direction in the duel, walking behind his opponent. I also liked his scenes with the little dog, and how he created his own stethoscope out of plumber's tools.

It was also interesting to see him paired with Jimmy Durante. Durante's nose takes some abuse which tickled me, and while he has his share of groaners in the film, his energetic delivery, punctuated with a sidelong glance, open mouth, and "haaaaa!", is endearing. Some of his better quips: "It'll be the greatest invention since Einstein discovered them relatives!" "Say, he's no bargain - that guy has done more chiselin' than Rodin!" "Don't I always stand at attention when they play The Mayonnaise?" (they're in France, so punning for Marseilles)

Lastly, Mona Maris, an actress from Argentina, really jumps off the screen in her supporting role. She's stunning, though the bit that has her throwing plates and whatnot out of anger in consecutive scenes got old pretty quickly. The other actors, Irene Purcell and Gilbert Roland, were less compelling. Having Roland be a cad who is seeing two women and telling each that he's married to the other, so that he can't possibly get married, and then Keaton being used in retaliation to make him jealous is an interesting idea, but it's poorly executed. Watchable for Keaton, Durante, or Mona Maris fans only.

Parlor, Bedroom and Wrath

[lugonian · 5/10 · 7 December 2013]

THE PASSIONATE PLUMBER (Metro-Goldwyn-Mayer, 1932), a Buster Keaton production directed by Edward Sedgwick, stars Buster Keaton in his second "farce" comedy, the first being PARLOR, BEDROOM AND BATH (MGM, 1931). With screen adaptation by Laurence E. Johnson, and uncredited material lifted from the play "Her Cardboard Lover" by Jacques Deval, THE PASSIONATE PLUMBER, its new title, certainly improves over Keaton's previous screen sound efforts for MGM (1930-33). Though not quite a cinematic masterpiece as one could have hoped for, it's basic flaws tend to be placed on certain gag and story material as being undeveloped with resolutions left unresolved. Overlooking these minor aspects, the finished product generally blends in nicely with its basic comedy premise, even for Keaton.

Set in Paris, France, with the Arch of Triumph captured in full view for its opening, the story introduces Julius J. (J. for Julius) McCracken (Jimmy Durante) coming to Paul Le Maire's (Paul Porcasi) shop in need of a plumber for his employer to fix a leak in the shower. Julius gets Elmer E. (E. for Elmer) Tuttle (Buster Keaton wearing beret), an American from Yonkers, working on his latest experiment, a spot shooting pistol. After these strangers get introduced, next scene has Elmer escorted into the mansion of socialite Patricia Alden (Irene Purcell) where he goes to work on her shower. In the meantime, plot development introduces Alhine (Polly Moran), the household maid whom McCracken is crazy about, and how much Miss Alden is crazy about Tony Lagorce (Gilbert Roland), a handsome gigolo, whose Spanish speaking wife, Nina (Mona Maris), refuses to grant him a divorce. Unaware to Miss Alden, Tony is actually carrying on a romance with Nina, using Patricia as his excuse for a wife, too, refusing to grant him a divorce. Hoping to make Tony jealous, Patricia hires Elmer as her lover decoy, or better yet, her passionate plumber, resulting to a series of mishaps for all concerned.

Previously filmed at the tail-end of the silent era as THE CARDBOARD LOVER (MGM, 1928) starring Marion Davies,and Nils Asther, and remade again as HER CARDBOARD LOVER (MGM, 1942) starring Norma Shearer and Robert Taylor, the Keaton carnation proves most interesting due to how its writers revamped a sophisticated comedy to fit with the opposite comedic talents of deadpan Keaton and over zealous Durante. Though their characters start off as complete strangers, only minutes into the story does it give the impression of they being lifelong pals. Even before the store comes to the halfway mark is it forgotten that Keaton's character is a plumber. It's a wonder if he ever got to finish fixing the shower and make up the bill for his time?

Of the several comedy highlights, including Keaton's gambling mishap at the Casino de Paris and the gigolo's attempt of keeping his two mistresses from getting together, the best known and/or most admired happens to be the dueling sequence between Keaton and Roland, with Durante in amiable support. Though it has its moments, it's obvious how this burlesque style pistol dueling would be recycled by future comedians as Bob Hope, Danny Kaye, or even one of the Three Stooges as prime examples. Keaton's frequent glove slapping Frenchmen to duels and correcting those who constantly mispronounce his last name, along with Mona Maris' constant Spanish speaking outbursts (done more favorably by Mexican actress Lupe Velez in later years) to Mexican born Gilbert Roland in saying in her accented English, "If you could only speak Spanish," are agreeable run-on gags. It's also a wonder how Velez might have handled such similar scenes had she been selected to play the spitfiring wife instead of Maris?

Others featured in the cast are Maude Eburne (Aunt Charlotte); Henry Armetta, Jean Del Val and Edward Brophy (Keaton's frequent co-star during his MGM years) in a cameo appearance as the man outside the beauty parlor. Irene Purcell, a not so well known actress with so few movies to her credit, makes an acceptable foil for Keaton's buffoonery. Closely resembling Joan Blondell in physical appearance and Genevieve Tobin in both mannerism and speech, she takes part in some good scenes involving Keaton, one where she gets served breakfast in bed (in the silent film tradition with limited dialog), and another where she constantly tries losing him so she can have a secret meeting with her lover. Polly Moran, better known for her screen partnership opposite Marie Dressler, has some funny bits here, too, few and far between, but mostly with Durante.

As much as Keaton and Durante are as compatible as Stan Laurel and Harpo Marx, MGM would pair them again in SPEAK EASILY (1932) and WHAT, NO BEER! (1933) before ending their screen partnership. Virturally forgotten over the years, this and other Keaton MGM comedies can be seen and studied whenever broadcast on cable television's Turner Classic Movies. Keaton's Elmer may not be the greatest plumber in Paris, but certainly is passionate, in a funny sort of way. (***)

The original play needed more work for a good film comedy

[SimonJack · 6/10 · 21 March 2023]

But for Buster Keaton's antics, there's little humor in this film. "The Passionate Plumber" may have been a big hit on the French Stage, but that play needed much more work and revision to make it work for the silver screen. Two cases in point are in two of the lead roles other than those of Keaton and Jimmy Durante. Irene Purcell as Patricia Jardine and Gilbert Roland as Tony Lagorce are two characters that are suitable for the stage but definitely not for the screen. Those who have seen and enjoy stage productions know that repetitious scenes can be very funny, and they may happen up to half a dozen times or so. But In the faster moving and more natural settings captured on film, two or three times at most can scenes be repeated for comedy. After that they become very tedious and outright boring.

Well, I didn't count the number of times that Roland's Tony and Purcell's Patricia had their on-again, off-again romantic encounters But they soon weighed heavily on the film and weighed it down. And, the dialog was almost identical in each repetition. Tony, saying, "Patricia, you're the only one for me," and "I love you and you need me." Then, she saying "But you're married, and I don't want to see you anymore," and then, "Tony, I love you, wait for me." The writers for this film apparently couldn't come up with something original to either change their scenes and vary the script, or to reduce these encounters and put some more Keaton and Durante into the film.

This film is nowhere on the level of "Parlor, Bedroom and Bath." It doesn't have the usual dose of Keaton pratfalls and physical mishaps that always provide laughs. This is one case in which the source material drags down the type of comedy for which Keaton was known and best at.

Here are some of the few good lines from this film.

Elmer Tuttle, with seconds arguing over choice of weapons for a duel, "Satisfy both sides. Let him have a sword and I'll use a pistol."

Julius McCracken, "That guy's done more chiselin' than Rodin." Elmer Tuttle, "Who's Rodin?" Julius, "The chiseler." Elmer: Oh.

Patricia Jardine, "Have you ever been in jail." Elmer Tuttle, "Once." Patricia, "What for?" Elmer, "To see my father."

Patricia Jardine, "You can do more damage with one pair of hands than any man ever saw."

Patricia Jardine, startled by Elmer behind her, "Eek! How'd you get out of that bathroom?" Elmer Tuttle, "You'd be surprised what a little talcum powder'll do."

Decent Keaton Flick

[Michael_Elliott · 11 March 2012]

The Passionate Plumber (1932)

** (out of 4)

Decent MGM comedy has Buster Keaton playing a dim-witted plumber in Paris who gets involved with a woman (Irene Purcell) who wants him to pretend to be her lover so that she can drive her boyfriend (Gilbert Roland) crazy with jealousy. There's no question that Keaton will go down in history as a genius but it's also a fact that he sadly appeared in some really bad movies after his golden age in the silent era. His time with MGM makes most fans cry because of the quality of some of the sound pictures but this one here isn't quite as bad as others and I think it has some good laughs throughout. The story itself is rather weak as the only thing it has going for it is a set-up with Keaton constantly not understanding the situation he's in. The screenplay tries to aimed towards Keaton's abilities and this is why you see some more physical stunts including the actor falling down steps, tripping over himself and we even get a funny bit where he tries to show off a new gun that he's invented to someone he shouldn't be pulling it out on. The entire bit at a party where Keaton once again finds himself in trouble contains some of the biggest laughs and especially the stuff when people mistake him for an assassin. Another funny bit is something most will probably consider silly but it had me laughing from start to finish. There's a running gag with Keaton slapping people with a glove and no matter how many times they repeat it I couldn't help but laugh. Keaton gives a lot more energy here than in his previous few films with the studio and I think Purcell makes for a good co-star. Jimmy Durante smugs his way in each scene he's in but he gets a couple good jokes with most of them aimed at his nose. THE PASSIONATE PLUMBER certainly isn't going to make you forget THE GENERAL but it's a decent time killer.

Keaton and Durante

[SnoopyStyle · 6/10 · 27 April 2020]

In Paris, Julius J. McCracken (Jimmy Durante) is socialite Patricia Albine's driver and he has a crush on her. He hires plumber Elmer E. Tuttle (Buster Keaton) to fix her pipes. She is desperate to make her two-timing lover Tony Lagorce jealous. He mistakes the plumber as her other lover and challenges him to a duel.

This talkie is adapted from a French play and a French version is made at the same time. It's obvious that Durante and Keaton are desperately trying to make this into a screwball comedy. They're doing some gold level comedic bits but the filmmaker is unable to make the most of it. It's like the camera doesn't know where to be and it stays far enough away to make sure that it doesn't miss Keaton's physical gags. I do wonder if Keaton should stay silent to heighten his comedic punch. It would be fascinating to see a mute Keaton play opposite Durante's unique voice. The comedic talents keep suggesting great gags but the film is always half a step behind. The most obvious move is to make this movie a showcase for Keaton and Durante instead of an uncompelling love affair between two unappealing characters.

Surprising comedy team

[liberationbrew · 7/10 · 4 October 2017]

Buster Keaton's film work at MGM was not very memorable, but the Passionate Plumber has more than a few very funny moments. Irene Purcell and Keaton make a surprisingly funny comedy team. Too bad that she only made eight films. Gilbert Roland is also good as a gigolo, and has a few comedic turns. Jimmy Durante's character wasn't really necessary and distracts from an otherwise decent 'French farce'.

Cute, typical 1930s comedy

[tracytabor · 7/10 · 11 September 2012]

I thought this was a light, fun romp, 1930s style. Of course Keaton is the scene stealer in this one. I know he didn't like to do so much talking in these films, but I like his voice and delivery. I feel this film also utilizes his wide range of facial expressions more than the other MGM films. Jimmy Durante is as irritating as ever, but for some reason he hit it off with 1930s American audiences. His pairing with Keaton however, was a poor choice. I also feel Keaton did a remarkable job in this film as his life had begun to fall apart about this time. He could have made a successful go at these sort of screwball type films, but as an artist, he felt they were ridiculous and a waste of time. If MGM had let him take control of his own films, then we would have something revolutionary to watch. That being said, This one is enjoyable. Sure, it's not a classic or well thought out film, but it made me laugh, and I saw the old Keaton in there, just a little.

This film ushers in a dark, dark period for Buster Keaton fans

[planktonrules · 3/10 · 28 December 2007]

This movie marks the darkest period for Buster Keaton and his fans. While the transition to sound for Keaton was very poor (after all, MGM studios tried to make this great mime a talking star), the PASSIONATE PLUMBER marks the beginning of the end of Keaton's career. That's because this was the first of three films that paired Keaton with Jimmy Durante--a "comedian" whose style was the exact opposite of Keaton's. Keaton's humor was physical and sweet, while Durante was extremely loud and overbearing and the two styles meshed like oil and water. It was obvious that the execs at MGM had no idea what to do with Keaton and pairing him with Durante was a sign that they had "jumped the shark"--in other words, they were trying desperate measures to try to salvage a career that had already peaked.

Now this isn't to say that Keaton couldn't have been funny. Had his films remained true to his strengths (physical humor and a general likability), he could have remained a viable star. Chaplin did this by refusing to immediately switch to sound films--making CITY LIGHTS (1931) and MODERN TIMES (1936) as silent movies even when everyone had switched to sound long before these films. It's really too bad that MGM didn't do what they did with Laurel and Hardy. This team did work for MGM technically speaking, but MGM allowed the affiliated Hal Roach Studio almost complete independence to do what they knew how to do best. Perhaps if Keaton had been sent to Roach, his sound career would have been a success. But with the gag writers at MGM, he was sunk.

This film is worse than his previous sound outings because Keaton is given almost no physical gags at all. The few that he does have are among the best moments in the film because they are genuine--gags that suit Keaton's style. But the rest of the film is so talky and forgettable that it will most likely make Keaton fans (like myself) wince. And, while I know some Durante fans might take offense, he came off as just obnoxious and annoying!

The film is called the PASSIONATE PLUMBER, though Keaton spends very little time plumbing. The beginning of the film involves more scenes with Durante and Keaton--while the last half of the film they don't appear in that many scenes together (thank goodness). During this phase of the film, Keaton mostly annoys those around him and is invited to a series of duels due to his incessant and annoying bumbling. For the remainder of the film, he tags along with a young woman as her aide. She has gotten him to promise never to leave her side because she's afraid she'll lose control and allow Gilbert Rolland to make love to her. So, through over half the film, you see Keaton essentially following her and that's all there is to the plot.

Sadly throughout all of this, there are almost no laughs at all--a serious problem with a comedy! Only at the very end, when it degenerates to slapstick, does the film show any promise--but then the final credits roll and you are left thinking "is that all there is?".

Carry On Buster

[Igenlode Wordsmith · 8/10 · 18 March 2006]

Now that was actually good -- I could stand to watch a lot more of those!

The last thirty seconds or so form a too-convenient "eh?--what?" conclusion, the initial set-up is slow, and Jimmy Durante seems to have wandered into a rather pointless supporting role from another movie altogether; but for the first time in talkies we have Buster back as of old -- alert, expressive, and ever-so-slightly bemused as his life unexpectedly intersects with that of a flighty socialite who is the target of a cad -- and the return is worth celebration. It will take all his trademark patience, agility and ingenuity to fulfil the contract to protect his new 'employer' both from her would-be seducer and from her own weaker moments... but "Maybe some day you'll be glad I was here," he tells her with a touching stubbornness, and true to his word it is he who contrives the final confrontation.

In a sense this is just as much farce as was "Parlor, Bedroom and Bath": but the script is better, the supporting cast is much better, and Keaton himself more than holds his own where both dialogue and speaking glances are concerned. He may be playing another 'Elmer', but his character here is a far cry from the pathetic buffoon of his first speaking role in "Free and Easy"; Elmer Tuttle, plumber and inventor, may be out of his element in Miss Patricia's social circles, but he is full of resource and determination, and no helpless puppet. The result, predictably, is far more effective -- when Reggie Irving's head nestles on a concerned female bosom, it is through mere ineptitude, but when Buster here avails himself of the same proffered rest in the aftermath of the duel, it is a visible decision to take full advantage of the opportunity! And as ever with Keaton, many of the most hilarious moments are unspoken. His ever-helpful provision of ammunition to the incensed ladies as events catch up with Tony, a scene which had me in stitches; his attempt to conceal a ridiculously fluffy lap-dog in his pocket, with the whole surreal episode the supremely logical culmination of many earlier plot twists, a set-up worthy of any of his silent features; the arrival of Aunt Charlotte, and his inspired solution to the crisis; and of course the whole duel sequence.

The entire production, from script to sight-gags, is somewhat reminiscent of the classic "Carry On" comedies of the 1960s -- and as a longstanding fan of the latter I mean that as nothing more than a thoroughly-going recommendation. It's very easy to mentally substitute Sid James into the Durante role (arguably an improvement...), Joan Sims as Patricia, and Hattie Jacques as Aunt Charlotte, and oddly enough Buster seems entirely at home in such company. But what I hadn't realised is that the actual duel sequence in the Scarlet Pimpernel spoof "Carry On Don't Lose Your Head" -- including the hero's famous offer "You have the swords, I'll have the pistols" -- is a direct homage to this film; Buster, of course, did it all first.

"The Passionate Plumber" is a true sound comedy, adapted from a stage property, but in addition it's a genuine Keaton movie in ways that "Speak Easily" or "Parlor, Bedroom and Bath", for example, are not. The MGM talkies tend to treat physical comedy as the lowest form of humour, utilising pratfalls, entanglements with scenery and general bumbling to milk the audience for routine, predictable laughs. In this film, for the first time since "Doughboys" and with more consistent results, we see the return of Keaton's own unexpected inventiveness, with the 'Aunt Charlotte' scene as perhaps the most memorable example: in a standard farce, Elmer would be hiding in a creaking cupboard or frantically climbing out of a window at this point, but it wouldn't get one-half the laugh that Keaton's straight-faced expedient does, not to mention the inspired improvisation that follows.

For once, we have Buster back in problem-solving mode, overcoming obstacles and pitting his wits against the world, and it's enough to bring a whole extra sparkle for this viewer at least. He has, of course, fallen in unspoken love with the leading lady -- but that certainly doesn't mean he's going to allow her, or anyone else, to walk all over him! Competent, coherent characters always seem to suit his style better than witless stumblers, producing superior comic results, and this film simply reinforces the point; it isn't a run-of-the-mill MGM picture, and it's distinctly funnier for it.

Keaton himself apparently didn't feel that either the film or the role were right for him. As in, famously, the case of "The High Sign" -- which he actually suppressed from initial release as substandard -- I honestly believe that in this case he was wrong: much of the film depends entirely on his interpretation, many of the laughs derive directly from his reactions and timing, and the material provides opportunity for the full range of his talents. And above all, it had me laughing by the end with the sort of helpless delight I haven't experienced from any of his other sound productions...

Buster is in problem solving mode here...

[AlsExGal · 8/10 · 21 August 2010]

...just like in his silent days. Unlike most of his MGM talkies, here he is not cast as the hapless bumbling butt of jokes, but instead he shows grace under pressure and ingenuity when in a tight spot.

This was the first of his three teamings with Jimmy Durante, and even that odd pairing doesn't distract too much from the film's enjoyment. Keaton here is playing Elmer Tuttle, who for some unexplained reason is an American plumber choosing to live in Paris. He enters the story as chauffeur Julius (Jimmy Durante) has been tasked by his employer to find a plumber to repair a leaky shower, and Elmer is the lucky plumber chosen for the job. Julius' employer is Patricia Alden (Irene Purcell), also an American living in Paris, who is trying to pull herself away from her married lover Tony (Gilbert Roland) since she sees there is no future in the relationship.

Patricia decides to drive the proud Tony away by claiming that Elmer is her lover, and she also hires Elmer to make sure she doesn't give in to temptation and go crawling back to Tony. The problem is, shortly after she gives Elmer the job she decides to go back to Tony, but Elmer won't take "you're fired" for an answer. He protects her in spite of herself. Keaton shows that old inventiveness at every turn here. When he needs money to rent formal attire to get into a Paris night spot he finds a way to make the night spot pay for it, every time Patricia thinks she has lost Elmer and is on her way back to Tony, Elmer finds a way to outsmart and stop her, and finally when Patricia's aunt Charlotte comes to visit and Patricia is afraid of what she'll think if she finds a man - Elmer - in her room, Keaton hilariously turns his plumbing toolkit into a doctor's bag and makes aunt Charlotte believe he is Patricia's physician.

Some of the plot lines hit unexplained dead ends and the ending for sure doesn't make much sense, but yet I find myself pulling this one out and watching it pretty often just because it is a good example of the old Keaton magic at work.

More of a sex farce than a typical Keaton comedy

[Sleepy-17 · 11 September 2000]

Not hilarious but pretty funny, with Jimmy Durante, Gilbert Roland and the three female leads of Moran, Maris and Purcell providing much of the comedy.

Weird and at times a little stupid, some good laughs; but the last reel is not as hilariously frantic as in other Keaton films.

The best of Keaton's MGM talkies

[MissSimonetta · 8/10 · 3 September 2013]

Out of all of Keaton's MGM sound films, The Passionate Plumber (1932) is the only one I actually laughed at. It's no riot, but it's The General (1926) compared to all that other garbage MGM forced upon Keaton in the 30s.

The story is very pre-code: Keaton plays an American plumber living in France. A socialite (Irene Purcell) discovers her lover (Gilbert Roland) is carrying on with another woman (Mona Maris), so she hires Keaton to make Roland jealous. Most of the movie concerns Keaton trying to keep her away from Roland, whom she simultaneously hates and lusts after.

Thank God above, Buster does not play an idiot! He's still socially awkward and a little lost, but his character is allowed to be clever, resourceful, and sarcastic. The physical comedy is actually inspired too, rather than tacked on (see the painfully bad slapstick during the check-in scene of Parlor, Bedroom, and Bath (1931)).

Much of the supporting cast is completely over the top and annoying. Irene Purcell and Mona Maris screech and howl. Jimmy Durante works best in small doses, which is luckily how he is here. Gilbert Roland works best when he isn't hamming it up to Mars, which unluckily, he does in a number of scenes.

Fortunately, the supporting cast, while not always pleasant, is not terrible enough to kill the movie. If you've lost all hope after Free and Easy (1930) and What! No Beer (1933), then give this one a try.

Comic masterpiece

[zetes · 10/10 · 14 January 2002]

The traditional knowledge about Buster Keaton's career is that he threw it away once he signed the contract with MGM. That's possibly true. Maybe his talkies flopped big time back in the 1930s. But the three I watched tonight told a totally different story. Keaton completely retained his comic talent in the early days of the talkies. Not only does he utilize his marvelous physical prowess in these films, but he shows an enormous ear for comic timing with dialogue. As I said, tonight I watched three of them, What, No Beer?, Sidewalks of New York, and The Passionate Plumber. The Passionate Plumber was the best of the three by far, and, in my opinion, Keaton was only better in Sherlock Jr. Add to the mix a hilarious Jimmy Durante, beautiful Irene Purcell, and firey Mona Maris and you've got one of the best comedies of the 1930s. Of all times, really. It's a shame, a real shame that I am only the tenth person on imdb to vote for the film, and that it is not on video. God, I wish I had looked ahead on the TV schedule and taped it! 10/10.

A solidly entertaining 30s comedy

[I_Ailurophile · 8/10 · 27 January 2023]

To be sure, it's a little strange to hear Buster Keaton's voice, or indeed to hear anything in one of his films. Yet the "worst" that can be said is that scenes emphasizing dialogue feel like they could be from any contemporary comedy, which is no slight at all, and meanwhile we're still nonetheless treated to plentiful gags of the sort we're accustomed to from the star (if not so much his famous stunts). Most scenes are full of high energy that the excitable dialogue only adds to, and for all this, 'The passionate plumber' serves up lots of laughs all throughout its length, if maybe just not quite as robustly as its silent predecessors.

We're given a classic scenario of one of the comedian's characters bumbling his way into an ever-escalating farce, and as always, Keaton's nonplussed demeanor amidst the madness is a terrific contrast to the flamboyance required of his co-stars. It's simply a joy as a viewer to watch Irene Purcell, Mona Maris, and Gilbert Roland, among others, lean into the zest of folks who are increasingly confounded by protagonist Elmer's ignorance and low reactivity. Sight gags, situational comedy, a measure of physical comedy, exaggerated characters, a few choice quips in the talkie's dialogue, and the result is consistently fun. There might be a few points where the energy thins out or tapers off, but the effect isn't so severe as to significantly detract from the viewing experience.

Edward Sedgwick demonstrates solid capability as a director in bringing a swell screenplay to life, and all those behind the scenes made fine contributions, too, not least where the sets are concerned. Save for those sparing instances of minor lag, the comedic timing is pretty on point such that we're always kept engaged, and even at its loudest the shenanigans are never overbearing. If my words seem less than enthused, I don't intend it - only, it's hard to describe or explain a joke without ruining it, you know? Suffice to say that anyone who appreciates Keaton's most revered classics should still have a good time here, and even setting that aside, it's roundly entertaining. I know the man came to deeply regret his partnership with MGM in the years to come, yet this isn't to necessarily say it didn't produce some enjoyable movies, and I think 'The passionate plumber' is definitely one of them.

Plumbers need love too

[jarrodmcdonald-1 · 25 May 2022]

While I won't discount Buster Keaton and Jimmy Durante as a team, since they do have a good rapport and made a few precodes together at MGM, I think Keaton works better on his own, when it's just him with a prop doing a gag. Also, what I like about Keaton is that he's able to understate a situation and make the laughs come naturally. This is the complete opposite of Durante, whose wild gesticulations and overly enunciated ha-ha-ha's are anything but subtle.

I can't really be too hard on Durante, since he's not the only one overacting in this film. The supporting players, frumpy Polly Moran and handsome Gilbert Roland, are also prone to exaggeration. Then there's Irene Purcell, fourth billed but actually in the second most important role opposite Keaton as the love interest. She's a vamped up Jean Harlow, louder than everyone else, with not one ounce of restraint.

If it sounds like I am blasting this film because of how the cast handle their roles, I am not. Actually, I found THE PASSIONATE PLUMBER to be quite hilarious and give it a score of 8 out of 10. Sometimes I am in the mood for over-the-top ham-fisted comedy, but I do think this film would have been better if there had been someone with a laidback delivery, besides Buster, who could help him balance out the others.

Even the extras behave in an animated fashion during a casino scene. There are minor roles played by French speaking actors whose "oui" sounds like "whee!" and well you get the idea, this is a farce that operates like a raging forest fire totally out of control.

One thing I admire about Buster Keaton's comedy, whether it's the silent kind or these later talkie versions, is just how experimental he is. He takes a few pratfalls in a scene where he disrupts Moran's housekeeping duties.

Then there is the part at the casino, where he has been mistaken for an assassin. He runs through the joint, hopping on a gaming table, hopping off, running into the lobby, darting up a huge flight of stairs...men scramble after him, trying to catch him.

They nearly reach the top of the staircase, before Keaton backtracks and staggers down the steps. They all stagger back down with him like a bunch of falling dominoes. You can tell that Keaton and director Edward Sedgwick decided to see if they could get laughs from a chase up and down a flight of stairs. It doesn't exactly work, but they tried...and the action just continues on to the next sequence filled with the next set of gags and attempts to make the audience laugh.

As a result of this kinetic approach to storytelling, we have a highly energetic romp. THE PASSIONATE PLUMBER is about a bumbling paramour. It is based on an earlier hit starring Marion Davies called THE CARDBOARD LOVER which was remade again with Norma Shearer. Of course, Davies and Shearer don't inject it with the same sort of voltage that Keaton does. And even during the story's slower moments, there is still plenty of half-baked action to keep us engaged.

Miss Purcell has a great sounding voice, and it's a shame that she didn't make very many movies. She was a millionaire who preferred working on stage and traveling. Life as a movie star apparently did not interest her much, but she does memorable work in this film and I am eager to see two other films she made at Metro, one with William Haines and another with Robert Montgomery both from this period.

The cast member who had the most success in the sound era of Hollywood films is probably Jimmy Durante, who would later reinvent himself as a musical comedy star at MGM in the 1940s appearing in productions with June Allyson, Esther Williams and Frank Sinatra. I have to admire Mr. Durante for his ability to make fun of his famous schnoz.

I guess it was his calling card...there is a scene where Roland's character "honks" him and more shtick at the end with him and Miss Moran involving his large proboscis.

This is still Buster Keaton's film. He is athletic, spacey, wry and daresay even sexy in the repeated kissing scenes. What an unusual package.

While THE PASSIONATE PLUMBER may not be deemed 100% classic, it still has some laugh-out-loud moments and I did enjoy watching it. Certain bits reminded me of W. C. Fields and Woody Allen. Cinema's best comedians inspire each other, and in turn they inspire us not to take ourselves so seriously!