‍Buster Keaton works as a projectionist in a small-town cinema, but dreams of becoming a detective. He competes against a nefarious rival for the love of a neighbourhood girl. During a film screening, Buster dreams himself into the film that is being projected and transforms into the master detective Sherlock, Jr. In this persona, he fights a gang of criminals whose leader resembles Buster’s rival in the real world. One of the most original and technically sophisticated silent film comedies of all time and a self-reflexive tribute to cinema as a medium.

As one watches SHERLOCK JR. being unfurled on the Rialto screen, one might observe with a sigh after 500 feet have passed that it is about time the comical Buster Keaton skipped into action. Just about then you realize that something has happened – one of the best screen tricks ever incorporated in a comedy – and laughter starts, and for the balance of the picture you smile, snigger, chuckle, grin and guffaw. As the embryo sleuth whose actual occupation is that of a projection machine operator in anondescript motion picture theatre, Mr. Keaton finds the tables turned on him when the pawn ticket for a stolen watch is discovered in his own pocket. He returns to work, dejected at the thought of losing his girl, and falls asleep in the operator’s booth as a picture is being screened. What one sees is his dream, which in a measure is something like the dream sequence in HOLLYWOOD.

Of course the first part of this long sequence is boisterously funny, and nary the flicker of expression crosses the Keaton countenance, except through the eyes. His face might be made of stone for allthe resiliency there is in it. There is an extremely good comedy which will give you plenty of amusement, so long as you permit Mr. Keaton to glide into his work with his usual deliberation.

The New York Times, May 26, 1924

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