The way the film ends, in a quick succession of reversals, is something Buster Keaton loved to do, to make the audience think one thing would happen and then go in a completely diametrical direction. The entire nautical section of the film is composed with such authenticity with footage of the whale, the naval carrier, the harpoon sequence and some very convincing looking sailor extras, so as to hoodwink the viewer into believability. In the entire film, land is nowhere to be seen. Although cast and crew were most probably anchored in a harbor somewhere, the effect is of total oceanic isolation. Coupled with Buster's convincing despair, we're never in doubt of the events unfolding before us. Although I wouldn't put The Love Nest in the most esteemed level of Keaton shorts, it's certainly an admirable second-tier entry, displaying Buster's interest in maritime mischief and his ability as a filmmaker to capture action in a docu-realist style.
In our next installment, we finally (finally!) reach the features. Buster the caveman, the Roman, and the Jazz Age hero--Three Ages, next time!