On Sherlock Jr: Keaton and Self-Reflexivity

Perhaps the best example of Keaton’s use of self-reflexivity in Sherlock Jr. takes place during the film’s final scene. Realizing that she’s “made a terrible mistake” in blaming Keaton for stealing a pocket watch belonging to her father, Keaton’s wanna-be girlfriend confronts him to apologize.  The awe-struck Keaton, working as a “moving picture operator,” hardly knows how to handle this situation.  After dreaming of himself as the heroic, well-respected detective – bravely exposing the real thieves and rescuing the girl – Keaton now finds himself facing his awkward reality.  After her apology to Keaton, he fumbles for the right words, for the right move to make.  Remembering his role as moving picture operator, Keaton notices the characters on the silver screen.  He awkwardly mimics the actions of the two characters – man and woman, in love – as they embrace.  He takes what he sees on the film and applies it to his present position, while in reality, he’s part of a film himself.  A film within a film, that also demonstrates the ability of this medium to persuade and teach.  Keaton’s use of self-reflexive techniques, while innovative and entertaining, is truly effective in demonstrating some of the lesser-known aspects of film.