Production
Keaton performed many dangerous physical stunts on and around the moving train, including jumping from the engine to a tender to a boxcar, sitting on the cow-catcher of the slow moving train while holding a railroad tie, and running along the roof. One of the most dangerous stunts occurred when Buster sat on one of the coupling rods, which connect the drivers of the locomotive. In the film, the train starts gently and gradually picks up speed as it enters a shed.
The climax of the film includes a spectacular moment where a bridge (sabotaged by Johnnie) collapses as a railroad train crosses it. Keaton filmed the collapse in the conifer forest around the town of Cottage Grove, Oregon, using 500 extras from the Oregon National Guard. They all dressed up in Union uniforms and were filmed going left-to-right before changing into Confederate uniforms and being filmed going right-to-left.
The production company left the wreckage in the river bed after the scene was filmed. The wrecked locomotive became a minor tourist attraction for nearly twenty years. The metal of the train was salvaged for scrap during World War II.
Read more about this topic: The General (1926 film)
Famous quotes containing the word production:
“By bourgeoisie is meant the class of modern capitalists, owners of the means of social production and employers of wage labor. By proletariat, the class of modern wage laborers who, having no means of production of their own, are reduced to selling their labor power in order to live.”
—Friedrich Engels (1820–1895)
“The production of too many useful things results in too many useless people.”
—Karl Marx (1818–1883)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)