narrative, as he employed in his earlier film The High Sign, toward mining more and more gags from a few basic elements—in this case, the house and ladders. According to Kevin Brownlow, One Week "set the style for all the future Keatons; the opening gag sequence ... the slow build-up ... the frenetic climax ... and then that climax outmatched by the final sequence". Furthermore, the film lay the basis for the cinematic techniques of his future films: "The simple setups, the flat comedy lighting, the spare use of titles—and the overall excellence of the direction". According to Eleanor Keaton, Buster originally thought to combine two of his two-reel films, One Week and The Boat (1921), into a four-reeler charting a young couple's adventures. Virginia Fox, who had been hired for the latter film, was replaced with Sybil Seely who had starred in One Week. However, the idea of combining the films never came to fruition. Casting Sybil Seely plays the young bride in her film debut. The mischievous rival ("Handy Hank") is an unknown actor. Joe Roberts has a brief bit as a strong-man piano mover. Filming and special effects Many special effects, such as the house spinning around during a storm and the train collision, were filmed as they occurred and were not model work. The house was constructed on a turntable so that it could spin around during the storm scene. The train collision was filmed at the Inglewood train station. Keaton reused the gag of the side of a building falling on him, but emerging unscathed in the opening of a window in the wall, from the Fatty Arbuckle–Keaton film Back Stage; he would reuse the same joke in The Blacksmith (1922) and Steamboat Bill, Jr. (1928). Keaton's fall down two stories after stepping out of the bathroom was one of the few times he injured himself badly. His arms and back swelled up a few hours after the filming. His physical trainer gave him both hot and cold showers and then treated the swelling with olive oil and horse liniment. The film is noted for a risqué (for its time) scene involving Seely's character taking a bath. She drops a bar of soap out of the tub and waits until (as a fourth wall-breaking gag) someone's hand is placed over the camera lens so she can lean out and retrieve it. Although intended as a