
The Frozen North(1922)
A mix of guns and mistaken identity leads to chaos in this satirical parody of William S. Hart's melodramatic westerns, finding Buster in the frozen north - "the last stop on the subway".


“Kneel! Kneel to Paleface Squaw!”
A butterfly collector unwittingly wanders into an Indian encampment while chasing a butterfly, but the tribe has resolved to kill the first white man who enters their encampment because white oil tycoons are trying to force them from their land.

Buster Keaton
Little Chief Paleface

Virginia Fox
Indian Maiden

Joe Roberts
The Indian Chief
The Paleface is a western, comedy film released in 1922 exploring themes of native american, silent film, short film. Directed by Buster Keaton, it stars Buster Keaton, Virginia Fox, Joe Roberts. A butterfly collector unwittingly wanders into an Indian encampment while chasing a butterfly, but the tribe has resolved to kill the first white man who enters their encampment because white oil tycoons are trying to force them from their land.
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A mix of guns and mistaken identity leads to chaos in this satirical parody of William S. Hart's melodramatic westerns, finding Buster in the frozen north - "the last stop on the subway".

The story involves Arbuckle coming to the western town of Mad Dog Gulch after being thrown off a train and chased by Indians. He teams up with gambler/saloon owner Bill Bullhum, in trying to keep the evil Wild Bill Hickup away from Salvation Army girl, Salvation Sue. Fatty and Buster have a series of adventures trying to beat St. John, until they discover his one weakness: his ticklishness.

Al and Roscoe, employees at a gas station, are rivals for Alice. When Buster delivers a wedding gown for Alice and begins modeling it, he is mistaken for Alice and is kidnapped by Al.

Stan complains of a toothache and he and Ollie visit the dentist. Ollie gets his teeth pulled by mistake. Under the influence of laughing gas, they leave and cause much commotion on the road annoying a traffic cop.

A shipowner intends to scuttle his ship on its last voyage to get the insurance money. Charlie, a tramp in love with the owner's daughter, is grabbed by the captain and promises to help him shanghai some seamen. The daughter stows away to follow Charlie. Charlie assists in the galley and attempts to serve food during a gale.

Mr. Pest tries several theatre seats before winding up in front in a fight with the conductor. He is thrown out. In the lobby he pushes a fat lady into a fountain and returns to sit down by Edna. Mr. Rowdy, in the gallery, pours beer down on Mr. Pest and Edna. He attacks patrons, a harem dancer, the singers Dot and Dash, and a fire-eater.

At a morgue, forensic pathologists conduct autopsies of the corpses assigned. "S. Brakhage, entering, WITH HIS CAMERA, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of OTHERS. This last is a process that requires a WITNESS; and what 'idea' may finally have inserted itself into the sensible world we can still scarcely guess, for the CAMERA would seem the perfect Eidetic Witness, staring with perfect compassion where we can scarcely bear to glance." – Hollis Frampton

Roscoe and Buster give a bullying Strongman the what-for, but after the performance troupe quits it's up to Fatty and Buster to keep the show going.

Vignettes weaving together the stories of six individuals in the old West at the end of the Civil War. Following the tales of a sharp-shooting songster, a wannabe bank robber, two weary traveling performers, a lone gold prospector, a woman traveling the West to an uncertain future, and a motley crew of strangers undertaking a carriage ride.

Jack Crabb, looking back from extreme old age, tells of his life being raised by Indians and fighting with General Custer.

Two families embark on a pleasant Sunday picnic but manage to run into a variety of issues with their temperamental automobile. Each incident requires repeated exits and reboardings by Laurel, Hardy, their wives and grouchy, gout-ridden Uncle Edgar.

A white man trades with the Comanche for the release of a female stranger and the pair cross paths with three outlaws who have their eyes on the handsome reward for bringing her home and Comanche on the warpath.

In Apache territory, a supply Army column heads for the next fort, an ex-scout searches for the killer of his Native wife, and a housewife abandons her husband to rejoin her Apache lover's tribe.

Sam Burton's second wife is a Kiowa, and their son is therefore born mixed-race. When a struggle starts between the whites and the native Kiowas, the Burton family is split between loyalties.

Army despatch rider Hondo Lane discovers a woman and her son living in the midst of warring Apaches, and he becomes their protector.