Free and Easy (1930 film)  Free and Easy is a 1930 American pre-Code comedy film starring Buster Keaton. It was Keaton's first leading role in a talking motion picture. When small-town girl Elvira Plunkett (Anita Page) wins a contest that sends her to Hollywood for a screen test at Metro-Goldwyn-Mayer (MGM), she is accompanied by her overbearing mother (Trixie Friganza) and Elmer J. Butts (Buster Keaton), a gas-station attendant who goes along as Elvira's manager. Elmer is secretly in love with Elvira, but on the train they meet MGM contract actor Larry Mitchell (Robert Montgomery), who falls for her as well, and has the connections to make her a star. In Hollywood, Elmer manages to bungle his way through numerous films being shot on the MGM lot, disrupting production. When given a screen test, he can't manage to say his one line correctly. Despite this, both he and Elvira's mother are given film contracts, and appear in a comic opera together. Elmer want to tell Elvira that he loves her, but hints at it in such a way that she mistakes it for advice on how to tell Larry that she loves him. "Free and Easy", whose working title was "On the Set", was Buster Keaton's first starring role in a film shot for sound – he had appeared in MGM's talking "The Hollywood Revue of 1929", but did not speak. As with his previous film for MGM, "Spite Marriage", production on "Free and Easy" was largely out of Keaton's hands. The film was used as a way to showcase MGM's many stars and filmmakers and there are many cameos throughout of various actors and directors under contract to MGM at the time, including Cecil B. DeMille and Lionel Barrymore. The film was shot in French-, German- and Spanish-language versions – the Spanish one was called "Estrellados" – with Keaton speaking his dialogue phonetically, but the 1931 release in France had French-language intertitles replacing the English dialogue. MGM spent almost $500,000 on producing "Free and Easy". Contemporary reviews were mixed, with "The New York Times" reviewer Mordaunt Hall stating that Keaton's "audible performance is just as funny as his antics in mute offerings," while Robert E. Sherwood in "The Film Daily" wrote that, "Buster Keaton, trying to imitate a standard musical comedy clown, is no longer Buster Keaton and no longer funny."