The weakest Keaton solo short to date....but still good. As I've stated in the past, scare comedies that don't involve Bud and Lou or Bob Hope generally don't tend to be my favorite comedies. It's pretty much a one note genre of well...people being scared and not much else. Keaton, hardly a reaction comic, is not ideal for this genre. Really just lots of Keaton running around once we get to the second reel haunted house stuff. What makes it all at least bearable is the fact the film always remains visually stimulating and Keaton takes some good falls. The best part of the haunted house part is when Keaton finally stops and directs the fake ghosts like a traffic cop. That has a bit of wit to it and gives Keaton a chance a chance to do more than being frightened by spooks. The sense of relief I felt when Keaton did that scene is telling.
OK, bad stuff out of the way, there's still lots of good, mostly in the first half. I'm not going to do a blow by blow description, but please watch again the scene at the beginning that involves the key Keaton uses to get in the bank. Incredibly witty, unexpected, and funny. Love the scene where the pretty girl convinces Keaton to get her money an hour before the bank opens and the glue stuff, which could've been tedious, actually works because it makes a fun mess, extends to a few other characters, and once Keaton gets his hands in his pocket, plays a role in the story. Love the subtle gag of Keaton knocking himself on the head to numb himself so him pouring hot water on his hand to get the sticky money off doesn't hurt. I also enjoy the way Keaton gets away from the police as they find him sleeping stuck in the door and the part in the chase where bizarrely, Keaton stops, the man fires a rifle at Keaton, misses, and Keaton continues running.
The best part of this short, though, is unquestionably Keaton being denied entry into Heaven and going down the chute to Hell. Love the way he tips his hat to angels on the way up and the long trip down he takes. A great image and definitely the most iconic part of this short.