Who Is Buster Keaton's The General?

Buster Keaton’s The General is a perfect example of the classical paradigm, “narrative structure that..dominated film...since the 1910s,” (359) following set conventions: “scenes intensify...conflict in..rising...action...to...maximum tension in the climax.” (360-361) This is evident in the scene where Keaton fires cannonballs at a train with soldiers holding his love Annabel captive. The cannonball first lands on Keaton’s train, so he tries again, succeeding. After Keaton’s initial failure, and whenever the train gains speed, tension rises, reaching its climax as a cannonball hits the Union train.

Had Keaton hit the train on the first try, the scene would be less engaging, since a scene’s purpose is increasing tension between characters.(360) If every problem is resolved on the protagonist’s first try, there is no tension, so the plot is stalled. The idea of a classical film is obstacles are cast in the protagonist’s path, which must be overcome so the protagonist can succeed. When characters make mistakes or don’t succeed immediately, the audience is more invested in the storyline. Suddenly, there are

challenges preventing the protagonist from achieving their goal, making it less certain. The audience becomes interested in knowing whether the protagonist survives, and finishes their quest, because success is no longer guaranteed.
Classical film feeds on the idea of success being uncertain.

The classical model also stresses conflict between antagonist and protagonist, the protagonist instigating action and the antagonist’s resistance to it, with the protagonist winning. (360) When Keaton fires the cannon, he initiates conflict between himself and the Union soldiers. The Union train outrunning Keaton’s cannonballs and placing traps is the antagonist resisting the protagonist. Since Keaton does not resolve the conflict immediately, instead requiring several cannon shots, the audience is drawn into their conflict, hoping Keaton will slow down the Union train and save his love, in spite of the obstacles. The audience is invested in determining the chase’s outcome, because there is always another blockage, another conflict, keeping them engaged in the chase and supporting the protagonist’s

quest.
By having Keaton chase the Union train, with soldiers placing traps in his way, Keaton perfectly showcases the basic classical film plot: protagonist-antagonist obstacles and conflict, culminating in a climax where the protagonist emerges victorious. In each shot, the tension rises, anticipation building until finally Keaton succeeds in hitting the other train, when the falling action ensues: both trains stop, and Keaton rescues his love.