The many tear-jerkers deal with finality, with death and the end of love, with a stoicism pregnant with feeling.
Like a latter-day Faustus who has mortgaged his soul to the pursuit of his art, Harrison now desperately craves the paternal love from which his learning has estranged him.
The one on Seventh Street is a corporate franchise.
Buster Keaton is the plumber, passionate or otherwise, and he is more than ably assisted by the Schnozzle, Jimmy Durante.
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