Just watched a delightful silent film with Buster Keaton called Seven Chances.
It has that humorous quality of a James Thurber story (such as The Unicorn in the Garden) but it is an adaption of a three act play for the Belasco Theater written by Roi Cooper Megrue.
This is not my first Buster Keaton film as I have watched The General, One Week, Cops and Sherlock Jr. which are all considered superior to Seven Chances, according to the film critics. Nevertheless, it has a simple plot that appeals easily to the imagination and remains entertaining to the end which is not easy to do.
Another visual comedy with an entertaining story is Mon Oncle http://en.wikipedia.org/wiki/Mon_Oncle by the French film director Jacques Tati. It would take a good writer to produce a text version in prose that can do it justice.
Here's an interesting article by Lisa Trahair featured in Senses of Cinema, "an online journal devoted to the serious and eclectic discussion of cinema": The Narrative-Machine: Buster Keaton's Cinematic Comedy, Deleuze's Recursion Function and the Operational Aesthetic
Excerpt: "Keaton’s two-reelers look back to Mack Sennett’s aesthetics in their slapstick and chase sequences, in the emergence of comedy from the interpenetration of situations which are parallel in space and time although wildly disparate in content, and in their experimentation with dream logic, particularly the imbrication of comic logic and dream logic. But the two-reelers also look forward to his features in their emphasis on props and in their construction of both stories and gags around the deployment of props. Indeed, the finest of the features are stories built around a single prop – the train in The General, the ocean liner in The Navigator, the steamboat in Steamboat Bill, Jr., the cinema in Sherlock, Jr., and the movie camera in The Cameraman – or a motif, which is in any case a concept that has a prop-like status – athletics in College and marriage in Seven Chances."