In the last of Keaton's solo silent shorts, the actor/writer/director seemed to be straining at the limits of the two-reel comedy, both interms of length (DAY DREAMS, which exists in fragmentary condition, was originally released as a three-reeler) as well as content. Plotting and romance turned sketchy as Keaton devoted more attention to the visual setpieces that had become his hallmark: stuck within a steamboat's paddlewheel in DAY DREAMS, victimized by his own mechanical inventions in THE ELECTRIC HOUSE, and caught in an amusement park house of horrors in THE BALLOONATIC. After making nineteen shorts (of a contractually-obligated twenty), Keaton and his partners agreed that he had fully mined the possibilities of the two-reeler and was ready for greater challenges. Hiscareer as a feature filmmaker was ready to begin.THE BLACKSMITH1922 B&W 21 Min.Directed by Buster Keaton and Mal St. ClairVisual essay by Bruce LawtonTHE FROZEN NORTH1922 B&W 17 Min. Directed by Buster Keaton and Eddie ClineVisual essay by Patricia Eliot TobiasDAY DREAMS1922 B&W 21 Min.Directed by Buster Keaton and Eddie ClineVisual essay by David B. PearsonTHE ELECTRIC HOUSE1922 Color Tinted 23 Min.Directed by Buster Keaton and Eddie ClineTHE BALLOONATIC1923 B&W 22 Min.Directed by Buster Keaton and Eddie ClineAlso presented in a digitally enhanced version.THE LOVE NEST1923 Color Tinted 20 Min.Directed by Buster KeatonVisual essay by David Kalat