One week follows a newly wed couple who receive a flat-packed house and a small plot of land. They begin working on the house, but it quickly goes wrong. Everything is, well, higgledy-piggledy. The windows are wonky, the sink is outside, the room is on the wrong way. It’s not going well. The couple’s next idea is to bring a piano in, which they do using a pulley connected to the chandelier. For whatever reason, their ceiling is made of rubber, and they accidentally ping a man through the roof. Later in the week they have a housewarming party, but the house is caught by the wind and begins spinning like a merry-go-round. Then a man comes and tells them they’re on the wrong plot. They turn the house into a car and drag it across to the new plot, but it ends up being hit by a train. They decide to cut their losses at this point, putting the house up for sale and walking off into the sunset.
One Week (Buster Keaton, 1920)
One Week (Buster Keaton, 1920)
One Week (Buster Keaton, 1920)
One week follows a newly wed couple who receive a flat-packed house and a small plot of land. They begin working on the house, but it quickly goes wrong. Everything is, well, higgledy-piggledy. The windows are wonky, the sink is outside, the room is on the wrong way. It’s not going well. The couple’s next idea is to bring a piano in, which they do using a pulley connected to the chandelier. For whatever reason, their ceiling is made of rubber, and they accidentally ping a man through the roof. Later in the week they have a housewarming party, but the house is caught by the wind and begins spinning like a merry-go-round. Then a man comes and tells them they’re on the wrong plot. They turn the house into a car and drag it across to the new plot, but it ends up being hit by a train. They decide to cut their losses at this point, putting the house up for sale and walking off into the sunset.