The plot follows Keaton’s character, simply referred to as "The Groom," and his new wife, played by Sybil Seely, as they receive a wedding gift from an uncle: a house kit that promises to be assembled in just one week. However, their rival, an ex-suitor of the bride, sabotages their efforts by switching the numbering on the crates, leading to a series of construction disasters. What should have been a simple task of building their dream home turns into an absurdly chaotic adventure, with rooms placed at odd angles, walls collapsing, and the entire house rotating on a turntable.
One of the key highlights of One Week is Keaton’s innovative use of physical comedy. The film is filled with elaborate stunts and sight gags, many of which involve the collapsing house and the couple’s increasingly desperate attempts to fix it. Keaton, known for performing his own stunts, navigates the mayhem with incredible precision, creating an escalating sense of comedic tension as the house becomes more unstable. The film’s visual gags are brilliantly conceived, from doors that open into walls to windows that appear in the most inconvenient places. Each mishap is more outrageous than the last, building toward a climax that is both hilarious and awe-inspiring.
Keaton’s stone-faced persona—the ability to remain completely serious in the face of absurdity—adds to the humor of the film. His character’s deadpan reactions to the increasingly ridiculous situations around him make the comedy even more effective. Sybil Seely, as the resourceful bride, complements Keaton’s performance, and together they create a charming on-screen couple, navigating both the challenges of married life and their disastrous home-building project with determination and humor.
One Week also stands out for its impressive technical achievements, particularly for its time. The film showcases Keaton’s ingenuity as a filmmaker, with complex mechanical gags and set pieces that push the boundaries of what could be achieved in silent cinema. The rotating house sequence, in particular, is a marvel of practical effects and stunt work, as Keaton and Seely maneuver through the spinning structure without missing a beat. The film’s pacing is relentless, with one gag flowing seamlessly into the next, keeping the audience engaged and entertained throughout.
Thematically, One Week explores the comedic side of domestic life and the trials of young marriage. The house, meant to symbolize the couple’s new life together, becomes a source of constant frustration and conflict, reflecting the challenges that often accompany new beginnings. However, Keaton injects a sense of resilience and optimism into the narrative, as the couple never gives up, despite the mounting chaos. The film suggests that love and perseverance can overcome even the most absurd obstacles—a fitting message for a comedy built around mechanical disasters and marital mishaps.
In conclusion, One Week is a timeless piece of cinematic comedy that showcases Buster Keaton at his best. Its blend of physical humor, innovative stunts, and charming characters make it a standout example of Keaton’s artistry as both a performer and a director. Over a century later, the film remains a delight to watch, offering a perfect combination of laughs, thrills, and heart.
