Parlor Bedroom and Bath

Parlor, Bedroom, and Bath is an American pre-code comedy film from 1931. An adaptation of the play by Charles William Bell and Mark Swan, the film revived the crowd-pleasing genre, staging a delightful comedy of errors through its plot twists and turns. Directed by Edward Sedgwick and produced by the renowned Metro-Goldwyn-Mayer studios, it stars silent era comic genius Buster Keaton in the lead role.

Characterized by his distinct style of visual and slapstick comedy, Keaton plays the role of Reggie Irving, a mild-mannered, naive man who finds himself embroiled in an intricate mess of mistaken identities, amorous adventures, and comical hardships. Also adding to the ensemble are Charlotte Greenwood, as Angelica Embrey, a feisty woman with grand romantic aspirations, Reginald Denny as Jeffrey Haywood, a man in desperate search of a reputation of a ladies' man, and a string of other quirky personalities that keep the narrative engaging.

The story unspools with Jeffrey Haywood wanting to marry Virginia Embrey. His sentimental plan hits a roadblock when the future bride's authoritative brother, Leander, denies him the opportunity until he can prove his prowess with women. To rectify the situation, Jeffrey hatches an elaborate plan to boost his image as a ladies man.

Buster Keaton's hapless character Reggie gets the baton of intrigue passed to him when Jeffery cons him into impersonating a reputed playboy in order to enhance his own standing in Virginia's eyes. Oblivious to social graces and the art of wooing, Reggie enters the aristocratic world of glamour and romance, leading to an enjoyable series of misunderstandings and blunders. These circumstances set the stage for the bubbly humor that characterizes much of the film.

Charlotte Greenwood's performance as Angelica is a highlight of the film. Her character's romantic obsession with Reggie adds another layer of humor and misadventure to the narrative. She plays the role with such energetic fervor that she captivates viewers, adding a wonderful dimension to the film.

Reginald Denny also shines as Jeffrey Haywood. His desperation to woo Virginia and the lengths to which he goes to bolster his image form the backbone of the film’s conflict. His subtle comic timing and the chemistry he shares with other characters add to the film's charm.

The charm of Parlor, Bedroom and Bath lies in its elaborate staging of hilarious incidents, slapstick humor, and witty dialogues that provide non-stop entertainment. The beauty of the film not only resides in the performance of its cast but also in its direction. Edward Sedgwick, collaborating again with Keaton after their prior successful ventures, demonstrates his directorial prowess in handling the comedy genre. He masterfully orchestrates a range of dramatic twists, elevating the simple story into a comedy experience par excellence, worthy of its MGM lineage.

The opulent sets that represent the high-society living, the captivating costume design, the utilisation of various props for comic relief, and the choreographed chaos of errors are all details that contribute to the film's memorable scenes.

Parlor, Bedroom, and Bath is a pre-code film, meaning it was released before the establishment of the Hays Code in Hollywood, which strictly monitored moral conduct in films. Hence, it offers a more daring and risqué approach to romance and amorous misdemeanors, offering a provocative yet humorous look at high society's shallow façades and conventions.

Despite the initial lukewarm reception during the time of its release, Parlor, Bedroom, and Bath stands the test of time as an enduring testament to the comic prowess of Buster Keaton. It represents a worthy addition to the early comedy genre and offers a delightful vintage watch to the cinema audiences, showing us how early sound comedies successfully used absurd situations and hilarious dialogue to pilot a first-rate comic spectacle.

In its endearing mix of slapstick comedy, farcical situations, and nuanced performances, Parlor, Bedroom, and Bath holds a special place in the comedy films of the early 1930s. It serves as a delightful time capsule of a bygone era, offering modern audiences a taste of classic comedy steeped in the glamour of old Hollywood.