Our Hospitality

Age old insuperable intransigence malignantly motivates unforgiving distemper, a feud established so long ago no one knows why it began in the first place.

Over the years, as stubbornness seethed, convivial enterprise vigorously adapted, and widespread prosperity and temperate goodwill socioculturally spread across the fruitful land.

But not before two inconsolable brouhahas inscrupulously dealt each other fatal blows, their families left to struggle without fathers at a time when few theoretically remarried.

The one child is sent far away to be industriously raised in an oblivious city, wherein which the disillusioning feud no longer holds insalubrious sway.

He learns the subtle and occasionally rambunctious urbane arts of metropolitan life, blissfully unaware of the agéd imbroglio still unctuously upheld by brooding strangers.

It's really just one person cantankerously clinging to tradition best forgotten, the world having changed and diversified everywhere else leaving the children he cares for judiciously unconcerned.

They still want to please their family and abide by old school oligarchic orthodoxies, but they're close to asking themselves why bother? when we can take the train to Cleveland!

After learning of his enticing inheritance Willie McKay (Buster Keaton) returns to his family's domain, completely unaware of the histrionics that once cruelly governed their active degeneration. 

Unfortunately, his malcontent rivals still hold fast to the disenchanting dispute.

Even though their sister's invited him to dinner.

And he soon comes calling inquisitive resolute.

Honesty and integrity must still reverberate within consistently shifting sociopolitical sentiments, as if tawdry banal disingenuous cynicism has yet to overwhelm pleasant endeavour worldwide.

Why hold on to the carnal irreconcilability as it lays waste to generous collective innocence, cultivating a nation of vicious wolves with nothing to feed on but each other?

Note the habitual contentment of endemic zebree and industrious thriving aloof water buffalo, who agreeably eat various plants and efficiently prosper with genuine bemused sincerity. 

The animals who prey upon them strike primarily at the young and old as well as the weak and the infirm, why is such behaviour honourably regarded, is it not intensely revolting?

In a complex film still remarkably relevant Buster Keaton challenges grievous prejudice, and finds an hospitable amorous alternative upon metamorphosing Victorian currents.

Incredible how well each intricate scene is multidimensionally and playfully constructed.

Still an effective way to tell stories.

Such a shame, the warlike reemergence.