Physical humor and tomfoolery abound in this romp through the first week of married bliss and pitfalls, but there’s also something really sweet about the love between Keaton and his new bride here (they share a kiss every two minutes, or at least it feels that frequent). The stunts are pretty awesome, especially an opening act involving the straddling of two cars, and watching Keaton attempt to *put together* his home—way to go, Uncle Mike: now that’s a generous wedding gift!—is a hoot, especially as a rejected beau mischievously switches labels, causing the house to look like a reflection in a carnival mirror once it’s assembled. There’s also some fun experimenting with cinema as a medium—a hand blocks the camera as the naked wife emerges from the bathtub; a panicked Keaton spirals through the spinning house during a storm in a long tracking shot. And the final scene, which finds the lovebirds in search of a new home but just as smitten with one another, is terrific. Add on the obligatory Keaton dramatic scene moment, and you have my current favorite of his films (though I owe The General a revisit), a fine combination of humor and heart.