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Post by Mighty Jack on Oct 3, 2009 18:28:04 GMT -5
Speak Easily (1932)Buster plays a professor who inherits a hefty fund and ends up financing a rag tag bunch of entertainers lead by Jimmy Durante. The two are complete opposites in styles and I’m not so fond of Jimmy’s grating, loud style, but he’s okay here and Buster’s acting is rock solid as the scholar who takes everything literally and is an innocent among wolves. The mix of raw Durante and refined Buster was a good one. I got a kick out of Keaton packing his bags after he finds out about the inheritance, trying to load up everything from a clothes rack and table into his bags and the way he speak that educated language is a hoot. The only slip was when he falls out of character during a drunk. Though I felt the movie was very hit and miss, many consider it his best talkie (I’m more fond of “Parlor, Bed & Bath). It’s too shrill at times and familiar, as it draws from MGMs Spite Marriage and Free & Easy with its show biz theme. It still provided many laughs and Keaton was outstanding. What, No Beer? (1933) A gigantic hit that became his last film with MGM. He and L.B. Mayer had a blow out and the studio head fired his star. I’ve never seen this film but clips show the effects of his alcoholism. He looks drawn and slurs his lines. After completion of the movie Buster fell hard, In a drunken stupor he married his nurse Mae Scrubbens and wound up hospitalized after suffering from the DTs
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Post by Mighty Jack on Oct 6, 2009 23:40:19 GMT -5
EDIT: Added more reviews to this post... The Educational ShortsDuring his blow out with MGMs L.B. Mayer, he told the studio head “You destroyed my character!” The loss of creative control, the loss of his staff, his first wife divorced him and takes everything (even changed his children’s names), his best friend dies (as do 3 other friends). It was all too much, in too short a time for him to handle and in the early to mid 1930s he turned to drink, became an alcoholic and found himself committed to a sanitarium. (The sad things is, In reading over the history of the silent comedy era, there are a lot of alcoholics and too many suicides from these people who gave us so much laughter) After he was fired from MGM he made a few low budget, poorly received foreign films -Le Roi Des Champs-Elysees (1934) and The Invader (1936)- but in Hollywood he was deemed unemployable. The only place that made him an offer was Educational Studios, who filmed cheap 2 reel comedies. Though Buster didn’t praise many of these shorts, the one’s I’ve seen weren’t too bad. Keaton was working with director/writer Charles Lamont, an old friend from his vaudevillian days and he was able to hire many of his old friends to star with him. Allez-Oop! (1934)This short reunites him with former lover and co-star, Dorothy Sebastian (Spite Marriage) who had also had a falling out with MGM. The film also features the Flying Escalantes, an acrobatic act that worked with Buster in his silent short “Neighbors”. The story is about a watchmaker who falls for a gal, who falls for a trapeze artists. During an apt fire, the new BF saves himself and it is Buster who has to save the girl and wins back her heart. Though not a major work and it seems a hastily put together production, there are nice touches here and there. Grand Slam Opera (1936)This was the only Educational short that he liked enough to take writing credit for. It opens with a funny parody of George M. Cohan’s “Goodbye Mary” and continues with one satirical scene after another. A loving ode to his vaudevillian days, Buster plays a man who leaves his small town in hopes of finding fame in New York. This is very funny, one of his best shorts from this era, I especially love that he does a juggling act… for a radio show! LMAO Another plus was that Buster was sober and would stay away from alcohol for the rest of the decade. His second marriage –to his former nurse- ended, but considering that he couldn’t even remember marrying her due to being in a drunken haze, and that it was on shaky ground from the first. The newfound freedom was another positive. He might never be able to restore his film career to its former glory, but at least he was on a better path in his personal life. Jail Bait (1937)Here’s another goodie – Buster’s reporter pal convinces him to confess to a murder, after which he will expose the real killer and become a star in the newspaper biz. Buster goes through with it -and in one of the funniest gags- while on death row he reads that his pal was killed in a plane crash! How will Buster save himself? That’s all part of the fun. This is a well-told, well-performed short. Even with a limited budget, Keaton succeeds in making something sparkle. MORE REVIEWS added on Oct 11th Palooka From Paducah (1935)One of Buster’s more interesting shorts if only because it co-stars his father, mother and sister who play hillbilly moonshiners who get into the wrestling biz. This is a fun charmer. One Run Elmer (1935)Buster had been drinking heavily before the making of this short, but he shows no ill effects from it. This is an unusual but enjoyable piece; Keaton is Elmer (a name he uses a lot for his talkies) who runs a gas station in the middle of nowhere. A rival opens a station across from him, and later the two square off in a game of baseball out in the desert (winner gets the girl). There’s hardly any dialog in this one and the pacing is measured and though the story is slight, the movie has an agreeable vibe that makes it one of his better efforts. Look for the legendary Jim Thorpe in a small un-credited cameo, he retrieves Buster’s ball in the outfield. Hayseed Romance (1935)Buster takes a job as a handyman and falls for the boss’s pretty niece (only he believes its the boss wants to marry him). Though it’s obvious where most of the gags are going and the directorial timing is at times a bit jagged, the short got me laughing often. The performers have a nice chemistry and there’s a cute bit with Buster’s ghostly sub conscious. Tars and Stripes (1935)Buster’s commanding officer (the always-good Vernon Dent –who was seen often in Harry Langdon shorts) works to make a sailor out of Keaton. This is a rather sedate showing, a couple of laughs here and there (Buster screwing himself into the ground) but a minor work all told. The Chemist (1936)Two giants of the silent industry unite for the first time: Al Christie, who founded one of Hollywood’s first studios (Nestor, established in 1911) produced and directed this one (earlier, in an Educational short titled “The Timid Young Man”, Keaton was directed for the first time by Mack Sennett). Buster is the title character who has invented several elaborate powders, including one that makes a woman fall madly in love. It works on everybody except for the gal he loves. Later he creates a noiseless explosive, which excites his boss who exclaims… “Now we can have war in peace and comfort!” This is crazed and cartoon like, a whole lot of fun. Some might argue that it’s not really Buster’s style of comedy, but so what. It’s funny and Keaton’s great in it. He also wears his classic pork pie hat, not seen since “Steamboat Bill Jr.” Mixed Magic (1936)Buster plays a magicians assistant who, predictably, ruins the act. This one is pretty flat, we’ve seen this gag done over and over again and this version lacks luster. Even the bit when Buster saves the girl by swinging from the rafters is cheaply done. After completing his final 2 reeler with Educational (who went bankrupt shortly after) Buster did not make another film appearance for 2 years. He got by, writing for movies, giving away gags to acts like the Marx Brother’s for which he never received credit. In addition to the brother’s Marx, he also wrote for Abbott and Costello. Buster couldn’t understand these new comedians and their indifferent attitudes. Neither act, in Keaton’s words, “Ate, slept or dreamed” these films as they did in his days. The Marx were undisciplined and refused to sit still, A&C were discipline and he respected Lou Costello’s comic sensibilities, but they did their work and went home and that was it. To Buster it seemed they didn’t care - but that was part of the new Hollywood machine. The days of comedic auteur were dead. Hollywood’s new comics were performers, period. In 1939 Keaton returned to the screen in a series of shorts for Columbia studios
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Post by Mighty Jack on Oct 8, 2009 0:00:40 GMT -5
Shame on me! I let Buster's birthday pass without a shout out. (He was born on Oct 4th) Happy belated Buster. The Columbia ShortsThe Pest From The West (6/16/1939)Columbia pictures offered a bigger budget, but produced what Buster called “crummy 2 reelers”. They were also filmed in 3 to 4 days, which meant he wound up pulling bits from his old vaudevillian days and reworking old scripts. Pest is a remake of his British bomb, “The Invader” (1936). Directed by Del Lord and written by Clyde Bruckman this is one of the better, more sedate Columbia shorts - about a rich guy who visits Mexico, woo's a woman (and does so in several manner of dress). Mooching Through Georgia (8/11/1939)Jules White was Buster’s least favorite director. While Buster’s comedy was cerebral, White was frantic, impatient and happy to offer basic knocks on the head. More suited to the infantile antics of the 3 Stooges than a poetic genius like Keaton. While this civil war story is typically hectic, Keaton does squeeze in some subtle touches and has a likeable screen presence. Nothing But Pleasure (1/19/1940)More assembly line filmmaking from Jules White undercuts Buster’s effectiveness, though this does have its Keatonesque moments. The story reflects Buster’s love of buying a car hot off the assembly line in Detroit and to save money on shipping, he’d drive back and sight see. Some charming bits are to be had in between the chaos. Pardon my Berth Marks (3/22/1940)Because White allowed Buster some quieter silent comedy segments, this was one of the better Columbia shorts. Keaton plays an aspiring reporter on a train in pursuit of a hot story. This was the rare exception when the comedic equivalent of oil and water found a way to blend well together and Jules didn’t plow over Keaton’s deft touch. The Taming of the Snood (6/28/1940)The piece starts off funny with Buster an owner of a hat store, showing off his creations. The funniest was a hat topped with a mini clothesline, complete with tiny clothes hanging from it. But then it quickly disintegrates into random knockabout vaudevillian slapstick; it never stops and piles on one physical bit after another. Regular co-star Elsie Ames is present and boy; subtle is not in her bag of tricks. She’s especially over the top and grating The Spook Speaks (9/20/1940)Buster and his wife (Elsie Ames) are caretakers at the home of a magician. Lots of scary, magical events occur. Buster has a charming screen presence, but the material defeats him. I received a handful of laughs but it’s overall too busy, loud and dumb. His Ex Marks the Spot (12/13/1940)Keaton tries to get his subtler touches in (like a nice little hop at the door) but Jules White’s bombastic nature is overwhelming. This is shrill and unappealing (There’s even a Stooge-like eye poke) – the short is about a man who invites his ex and her new hubby over to his house. Painful, only a Stooge fan could enjoy this crap. So You Wont Squawk (2/21/1941)Directed by Del Lord, Squawk is okay, but is undone by sped up action and the overuse of wacky sound effects. Buster plays a handyman working in a nightclub owned by a mobster. When a rival gang mistakes Keaton for the mobster, we are offered a series of cute bits where they try to kill Keaton, think they’ve succeeded only have him pop up again. Had this shown some of the sophistication of Buster’s silent shorts, it might have been a classic. General Nuisance (9/18/1941)A loose remake of “Doughboys”, is undone by Jules White’s heavy hand. White would tell Keaton how to act and Buster would argue that this approach wasn’t right and shouldn’t be played that way… but Keaton rarely fought hard at this stage in his career and would give into White’s unsophisticated whims. Jules did allow Buster free reign on the dance sequence (telling Keaton that all he wanted was some pratfalls thrown in). Johnny Cashier, stunt double for Moe and Shemp Howard can be spotted playing an orderly. She’s Oil Mine (11/20/1941)Buster is caught between lovers and winds up in a duel. This was a knock off of what Jim Kline called “His worst film at MGM”, The Passionate Plumber and the comedy here is overall predictable and flat (the most clever bit comes when a woman is trapped in a pipe and is yelling “It’s the end of the world”, which leads Buster to quip, “It’s Orson Welles broadcasting again” as he turns to switch the channel on the radio). Other than that, Oil’s a yawn. Oil was the final Columbia short, much to Keaton’s relief, who wrote in his autobiography… “I just got to the point where I couldn’t stomach turning out even one more crummy 2 reeler” While his stint at Columbia was a disappointment, his personal life took a turn for the better when 45-year-old Keaton wed 21-year-old dancer Eleanor Norris on May 29th, 1940. He’d finally found his true love and happiness. The 2 would remain married to his death (who says May/December romances can’t work?). Life was a joy again, and later with the advent of TV Buster would find a new medium to fascinate and challenge him. Eventually he would be embraced and cheered as one of Hollywood’s all time greats But lets go back a year –
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Post by Mighty Jack on Oct 11, 2009 16:04:39 GMT -5
Before the contract with Columbia ended, through his association with Joe Schenck he was given a job (un-credited) as a technical advisor on a 20th Century Fox film within a film about the days of the silent era. Though he hadn’t had a drink in 5 years he was still perceived as a risk. Despite this he somehow wound up on screen as well.
Hollywood Cavalcade (1939) Don Ameche plays a Mack Sennett (then becomes a DeMille/Griffith type) filmmaker who signs his new star (Alice Faye) for his directorial debut. Keaton plays himself, Faye’s co-star in the comedy scenes.
This is an entertaining film and thought they don’t always get it right (Buster wasn’t a slapstick performer, embroiled in pie fights) they do enough to make this a warm and wonderful ode to a bygone age and keen eyed fans of the genre will be able to spot Snub Pollard (Harold Lloyd’s first co-star), Hank Mann (City Lights), Harold Goodwin (Buster’s “The Cameraman”, Lloyd’s “Movie Crazy”) as well as others (I especially love the quick bit when a heavyset man walks by and a guy addresses him as Roscoe). The film is rife with classic gags and though Buster’s part is small it’s nice to see him. The movie loses me when Keaton leaves and the story gets overly heavy handed and melodramatic.
Note: The DVD includes a short documentary on Keaton’s career.
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Post by Mighty Jack on Oct 20, 2009 5:22:09 GMT -5
Buster didn’t appear on screen for a year after making his last Columbia short. When he returned it was in smaller roles in movies I’ve been unable to track down. The best of these were a trio of films he made for producers Michael Fessier & Ernest Pagano, they are titled… San Diego, I Love You (1944), That’s The Spirit (1945) and That Night With You (1945) Here is a look at a few of the film I was able to locate. The Villain Still Pursued Her (1940)With the success of Cavalcade, Buster is next reunited with his silent era collaborator, Eddie Cline. This is an odd experiment, a silly parody of melodramatic stage plays and everyones acting is broad and mechanical (the story is about a villain turning a good man into a drunkard). The actors try a bit too hard and the end results come off more like a corny TV skit. Apart from a funny scene when boy meets girl, the flick is a curiosity rather than full out funny. The one saving grace is Keaton, who plays the ruined young man’s best friend. Buster seems more at ease and natural in front of the camera than the rest. The movie was a bomb at its release; it has since acquired a cult status among some film fans. In The Good Old Summertime (1949)Van Johnson (San Fran International) & Judy Garland star in a musical remake of “The Shop Around the Corner”. Originally, Buster was only asked to come up with a gag for a scene where a violin was destroyed, but they wanted a specific type of pratfall… Buster could do the move effortlessly so they just gave him the role outright. Keaton plays Van’s co-worker, the bosses nephew. It’s a small part but he makes the best of every scene, and when he does his pratfall, it’s as perfect as ever. Decent movie but the love story was not convincing. Sunset Boulevard (1950)Buster has a small cameo, seen during the card game with other old, forgotten actors. The William Holden character calls them waxworks. Some fans hated hearing Buster referred to in this manner and felt it was dissing his career and person. I don’t agree and feel it’s more a slap in the face of a Hollywood system that uses, chews up and spits out it’s great talents. Buster wasn’t the loser; the studios were for wasting and ruining genius. Chaplin fans might want to skip the next review... Limelight (1952). Chaplin’s film about a fading star who befriends a ballerina that he’d saved during a suicide attempt, is too wordy, too dry and the comedy bits are stiff and have awkward timing (watching an audience roar with laughter, wiping tears from their eyes after a lame flea circus bit made me wince, not laugh) Chaplin has a nice and easy way about him, a natural screen presence and he’s a decent actor. But none of that translates into a smooth production. I was actually uncomfortable a lot of the time. Watching Claire Bloom’s sappy, tearful declaration of love towards Chaplin’s older Calvero -Yeesh - I found it an unbelievable and corny moment. The draw was seeing the pairing of the 2 comedy giants, it’s too bad they couldn’t have done something together at their peak because the scene we have falls flat on it’s face. Keaton fumbling with sheet music far longer than he should, lacks zip and zing and pacing. I’ve read glowing reviews of this scene, but for me, after the initial joy of seeing them together wore off, what was offered was simply painful and a disappointment. It’s said Chaplin gave Buster the small part as his former comedy partner because he heard Keaton was on hard times (and he was in the 30s and 40s) but also because he wanted a vet who he knew was great at pantomime. Buster said Charlie was surprised to see him fit as a fiddle and shocked that he was now working in television. Charlie hated television, but for Buster, TV must have made him feel like a kid at Christmas. That curious mind of his, spinning over this new toy to play and experiment with. Buster said he spent most of his 3 weeks on the set watching Charlie rehears and rehearse and rehearse their scenes. That meticulous way of directing would drive others to madness, but Keaton was a patient man and great at waiting. The best scene is not humorous; it’s just the 2 giants getting ready in the dressing room. It’s short, but sweet.
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Post by Mighty Jack on Oct 21, 2009 0:48:26 GMT -5
Around the World in 80 Days (1956) And 80 days was about how long it took to watch this thing! And it was so unnecessary; it lingers and takes its time showing us all the lovely scenery (Thrill as David Niven rides on a train, plays cards and looks out the window!). A nice travelogue but an excruciating dull film. I know 1956 wasn’t filled with genius, but how the hell this won the Oscar for Best Picture is beyond me when the Searchers and the King and I were more worthy contenders. Even the overcooked 10 Commandments was preferable to this snoozer.
Buster doesn’t show up for about 2 hours. He’s a train conductor and fans will notice nods to a few of Keaton’s films (as when a train attempts to cross a rickety bridge) It’s nice to see and hear Keaton, though he doesn’t get to do a lot.
The Adventures of Huckleberry Finn (1960) Big production but not all that wonderful. It co-stars boxer Archie Moore as Jim. Buster’s part didn’t come from the book, he plays a washed up old lion tamer at a circus Huck and Jim happen upon. Buster sadly is stuck playing second fiddle to Andy Devine but it’s nice to see him.
Ten Girls Ago Shot in 1962 but never completed or released as the producer ran out of money and couldn’t find a backer. All that’s left of it is a 32 minute except that was shown to potential investors. An excerpt of this excerpt can be seen on Kino’s “Keaton Plus”
The Railrodder – Buster Ride Again (1965) The Railrodder is a silent short that has Buster’s character stuck on a runaway railcar that runs through Canada. It’s got some nice scenery, but that takes away from Keaton. The direction is weak, he cuts away from gags too quickly and then goes on long shots that make it hard to even see the comedian - Buster Rides Again was a documentary made during the filming of the short and is the more interesting of the 2. Revealing, intimate bits, some sad moments too as we can see that Buster is in ill health.
A Funny Thing Happened on the Way to the Forum (1966) Richard Lester’s hit and miss musical comedy is loaded with familiar faces. Though not a complete success, there are laughs and Buster, in one of his last roles, is enjoyable. He makes the most of his small scenes that simply require him to run around aimlessly (he did the running into the tree bit on his own. Richard Lester thought it was an accident and was worried at first)
Keaton also did cameos in many of those bad beach flicks in the 60s
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Post by Mighty Jack on Oct 22, 2009 0:16:17 GMT -5
Buster in an add for US Steel Television As stated in the Limelight review, Buster found new life on TV. He had his own series, did guest shots and commercials. He also filmed some industrial shorts during the 50s. Several pieces of these appearances have been collected on a dvds (Industrial Strength Keaton is in short supply. Kino offers “Keaton Plus”, available at Netflix) I thought the Kodak informational film he made was cute. In his “Simon Pure Beer” commercial he opens with a gag from his first filmed solo short (a giant newspaper). The Buster Keaton ShowKeaton starred in several sketch comedy series in the early days of television from 1949 to 1951 – Most of these do not survive but I was able to find a few excerpts. Most of the bits are cute but predictable as he uses old gags from his silent films. My favorite was, “Detective Story” where Buster makes like Raymond Chandler in this pulp detective story. This was a lot of fun and had Buster returning to his ‘out their’ visuals. It does peter out at the end. Douglas Fairbanks Jr. Presents: The Awakening (1954)Buster in a drama based on Gogol’s, “The Cloak”. In a future where the Chief -a ‘Big Brother’ type- watches over all… Keaton has his new overcoat stolen and when cops do nothing (except throw him into prison for complaining) he turns to the Chief who does nothing but bury it under red tape. Keaton fights back and kills the Chief. But… it ends up a dream; only he realizes it was more like a vision of the future. A vision he chooses to persue in the end. I thought this was interesting and Buster does a solid job, he’s especially wonderful in the scene where he challenges the Chief. The Donna Reed Show: A Very Merry Christmas (1958)Commercialism is spoiling the holidays for Donna, who finds the spirit of Christmas at the children’s ward in the Hospital. Buster plays Charlie, the janitor at the hospital, who plays Santa for the children. It’s a sentimental tale but Keaton does well in his small role Though I haven’t seen the episode, Buster returned to the show in 1965, playing a car salesman in the episode “Now you see it, now you don’t”. It was one of his last appearances. The Twilight Zone: Once Upon A Time (1961)After meeting Buster, writer Richard Matheson began working on a project for the great comic. The result is this cute T-zone ep, book ended with silent style sequences. Buster plays a guy sick of the noise and expense of life. While working as a janitor for a local scientists, he puts on an experimental time helmet that transports him into the future, which is 100 times more noisy and expensive. I thought this was a lot of a fun. Even an older, slower Buster, is still enjoyable. I like his gravely voice, I loved that he and costar Stanley Adam’s re-do an old Keaton/Arbuckle gag (with the pants). The only negative is that TV being what is - can’t understand that ‘less is better’. They load up the silent scenes with too many title cards, many nonsensical stupid jokes (The oink oink and tweet cards were not necessary) and overstate the obvious. Had we the viewing audiences become so dumb that we now needed everything spelled out for us? Or was it the industry that didn’t give us the benefit of having a brain? Other than that this is a must see for fans of the classic clown. Older but still a treasure. Burkes Law: “Who Killed Half of Glory Lee? (1964)What a terrible show! It’s busy, camp, over the top and too self satisfied. Man did I hate it, despite this ep being written by Harlan Ellison! Buster has one small cameo, a rich guy who suffers from laryngitis and has to pantomime his answers to the police. Though he get in one quick word at the end. Keaton’s part was cute, but too short and the rest of the show was painful. One of my favorite posters Actor James Mason, now living in Busters old house, discovered reels of Keaton’s old films in storage. This led to the restoration of those movies -and a tour through Europe where they were shown once more, in theaters. Buster was cheered again, as he deserved to be, and today he is revered as one of the all time great silent era comedians. Rivaled only by Chaplin (Lloyd, fairly or unfairly, is destined to be #3 in that circle of giants even though at his peak, he was the top draw of the trio). Buster died on February 1st 1966 (age 70) at Woodland Hills, California, from lung cancer. His last day was spent playing cards with his wife. He’d finally found true love, some peace and a return to happiness and respect in those final years and despite those tumultuous decades, Buster said he had a good life.
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Post by Mighty Jack on Oct 27, 2009 4:22:58 GMT -5
I’ve been slowed down by Netflix and finally gave up and cancelled my account. At one time I had over 20 silent films in my Que, all of them were on “short wait”… it’s a long story, it involved me calling support (“Short Wait”, basically means it’s not in your mailing area and the automatic system wont send it to you automatically from another area!). In the end there are a bunch I never was able to get –A disc full of Langdon shorts, most of Arbuckle’s films (so kill my intended feature on him) a disc full of early Lloyd shorts and variety of others (I’ve still never been able to track down a Hamilton short)… so this thread will be sadly incomplete.I managed to get through Keaton, who was a true original, a comedic genius to the Nth degree. People always compare him with Chaplin, which is natural considering they are the top 2 clowns of the era. But it’s also pointless; the 2 were completely different and operated in their own satellites in which they excelled. Chaplin could have never made “The General” in its sober, technical brilliance, any more than Buster could have done “The Kid” and delivered the same deft, heartfelt Chaplin touches. From Buster I’m moving onto one of the era’s unsung greats! Charley ChaseBorn Charles Parrott - Dapper and refined, Chase is known as the master of the comedy of embarrassment. This cabaret performer moved to films in 1912 and wound up at Sennett working as a writer and director, where he gained a reputation as an accomplished talent. In 1920 he started directing for Hal Roach and eventually oversaw all of Roaches projects, save the Harold Lloyd films. When Lloyd left Roach, Chase was back in front of the camera, staring in a series called “Jimmy Jump”. Later he was paired with a promising young director named Leo McCarey and the duo produced some classic work. Chase made a smooth transition into the sound era; he was a talented songwriter and singer. “Modern Love” was his first starring feature, a talkie where he sang. Sadly it failed and when Roach stopped making shorts in 1937 he moved to MGM then to Columbia, where he directed some of the 3 Stooges material. He struggled with alcoholism in the late 30s and died from a heart attack on June 20th 1940. Charley’s brother James (who went by the name Paul and looked exactly like his sibling) also made a series of shorts, though few survive I have seen 1922s Shine Me Up, which costarred Harold Lloyd’s future leading lady, Jobyana Ralston (Joby plays a flirt, James was rather nondescript and didn’t have the same screen presence as his brother). He later directed acts such as Laurel and Hardy. He died from a heart attack shortly before Charley did April Fool (5/18/1924)One of Charlie’s Jimmy Jump shorts, here he’s a reporter who is subject to every kind of practical joke. Harold Lloyd regular Noah Young, plays an editor who bets Jimmy that he’ll get him on a joke by the end of the day. I don’t care for April Foolery and likewise I didn’t care for this slight 1 reeler. All Wet (11/23/1924Jimmy Jump faces a series of cascading disaster as he tries to get to the train station. This 1 reeler features the kind of humor shows like “I Love Lucy” were founded on. If it can go wrong, it does. Very short, it’s feels like there are missing bits, but maybe not. I got a few chuckles but it’s a slight effort all told. Isn’t Life Terrible (7/5/1925)Oliver Hardy joins Charley in this one. Chase is a poor man looking to take his family camping; only his wife wants to go on an ocean cruise (which requires Charley to sell pens door to door). I love the scene where he’s trying to sell a pen to a woman, and it keeps shooting ink in his face - only because the actress, 17-year old Fay Wray (King Kong) is cracking up and it’s obvious that her laughter is spontaneous. Innocent Husbands (8/2/1925)Directed by Leo McCarey and co-starring frequent leading lady, Katherine Grant who suspects Hubby Chase is cheating. Course Charley ends up at a party with a pushy lady he can’t get rid of, as wife speeds home with a psychic. I didn’t find this a laugh riot but it was well told and directed. His Wooden Wedding (12/20/1925)Charley is about to get married when he receives a note (sent by his scheming best man) that his bride has a wooden leg. During the ceremony he considers his future and imagines his one legged children (the scene might be in poor taste, but was hysterical). He runs away, goes on a drunk and takes a cruise to forget her. When he discovers the truth he throws himself overboard. There are a couple predictable gags that are never the less funny as all get out. Dog Shy (4/4/1926)Charley plays a man who is afraid of dogs… and there’s a funny bit where we see him as a child running down the street from a small puppy. As an adult, after being chased into a phone booth, he picks up the phone and accidentally speaks to a sad gal on the other end of the line. Later he ends up working as butler for her family (who of course, have a dog) – Leo McCarey directed this funny tale of misunderstandings and coincidences. Mums the Word (5/26/1926)Chase plays a doting son, making a surprise visit to his mother who has re-married. She hasn’t told her new husband about Charley (I don’t know why, different era, different set of morals I guess) and she asks him to pretend to be his stepfather’s new valet, so that he can get to know and like him before she springs the news on hubby. This flimsy premise gets old after a while (someone just tell the truth!) Still the actors are good, especially Chase and Martha Sleeper (as the maid). There are also several funny sequences, the mix up with the shoes, the shaving gag and the bit where Charley disguises his mother as a chair. While not considered Chase’s best, it still provided me with an ample supply of laugher. Long Fliv The King (6/13/1926) Likable Martha Sleeper returns, playing a royal who must marry in order to take her throne. She selects a condemned man (Chase) who is later pardoned. This outrageous comedy is a hoot and a half. There’s great chemistry between Chase and his Jewish aide (though some of the stereotypes can be offensive, the actor is very good) and unlike “Mums”, the goofy plot is dense enough to hold interest to the end. The duel in particular is great fun and Chase’s body language and facial expressions add to the humor. Mighty Like A Moose (7/18/1926)This is Chase’s most celebrated short. Directed by McCarey, it’s completely absurd, but very funny. Charley plays a man with gigantic teeth, his wife has a huge nose. The 2 save up and fix these abnormalities and neither recognizes the other when they meet again. This leads to predictable but funny situations between man and wife as well as pet (the dog who attacks Chase because it doesn’t recognize him without the teeth). Chase even stages a fight with himself; did he get the idea from Max Linder? Crazy Like a Fox (8/22/1926)Charley is trying to get out of his engagement so he pretends to be insane. Though this all leans on one joke, and it can go a bit overboard, Charley does crazy well and I found myself having a hearty laugh. Bromo and Juliet (9/19/1926)Oliver Hardy, McCarey and Chase reunite, but this one wasn’t one of my favs. There are laughs, as when Charley -getting dressed to play Romeo- pads his tights with sponges because his legs are too skinny. Most of the film has Chase, drunk and goofy, which not only got tiresome, but I don’t think Charley does drunk near as well as Chaplin or Arbuckle does. Fluttering Hearts (6/19/1927)Charley tries to get back an incriminating letter for his girlfriend’s rich father, who is being blackmailed by Oliver Hardy. Yet again Chase proves to have a deft comedic touch, the bit where he uses a manikin to flirt with Hardy was a gas. This also features actor Eugene Pallett as a cop. This was one of his best. Forgotten Sweeties (1927)Forgetful Charley keeps running into his ex much to their current jealous spouses consternation. More mix up merriment as is the style for many Chases comedies, this was another goodie. In closing: Chase reminds me a bit of John Cleese, tall, refined. A look of exasperation often cracks those reserved features. Charley didn’t do a string of moneymaking features and thus, isn’t as well known to today’s viewer. Even though he wasn’t known as an innovator in style or technique as his contemporaries, Keaton, Chaplin, Lloyd or Langdon- for me, in terms of the laughter he provided, he sits behind Buster and Harold as the funniest folks in silent comedy. Neither Netflix or Blockbuster has added the comprehensive, “Becoming Charley Chase” set to their inventory. So I still get to look forward to eventually watching such highly rated films as, “The ‘Fraidy Cat”, “Limousine Love” and Should Husbands Be Watched”
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Post by Mighty Jack on Oct 28, 2009 4:43:21 GMT -5
Harold LloydOf Welsh descent, Harold Clayton Lloyd sr was born in Burchard, Nebraska on April 20th 1893 to James Darsie Lloyd (nicknamed "Foxy") and Elizabeth Fraser. When his parents divorced, Harold chose to stay with his father -a colorful dreamer who was always involved in 'get-rich-quick' schemes that ended in disasters. They eventually settled in Omaha where Harold got his first acting gig in a local stock company. In 1912, his father won a lawsuit for $6000 after being run over by an beer truck. On the toss of a coin (Heads was New York - tails, San Diego") he and Harold moved west. Harold didn’t come from vaudevillian roots, and he wasn’t interested in film. Rather he wanted to be a stage actor. But film was growing so film is where he went…only he couldn’t get in to a studio without a pass. He noticed extras in makeup would walk past the guard without showing their passes. So Harold put on makeup, blended in with the crowd and slipped in to the lot (In his 1st short he played a small part as a native American in “The Old Monk’s Tale 2/15/1913; 1r. He was also an extra in the full length feature “Samson” 4/30/1914; 6r). On the lot he met and befriended another extra named Hal Roach. During a strike Roach left Universal, began his own independent studio and signed Harold to act in front of the camera. They came up with a character named Willy Work (Will he work) but couldn’t land a distribution deal. It seems Willy wasn’t funny. After this the duo came up with a Lonesome Luke, modeled after Chaplin. To distinguish the 2, Lloyd put on tight clothes instead of baggy, but it was a Chaplin knockoff none-the-less, one of many Chaplin knockoffs who were making films. Their movie “Just Nuts” (4/19/1515; 1r) landed the team a distribution deal but a contract dispute sent Harold to Sennett (for a month or so – He can be seen in the background in Arbuckle’s “Miss Fatty’s Seaside Lovers (5/15/1915; 1r) and pops up unrecognizable as a Keystone cop in another. The two reunited when Pathe told Roach they’d give him another deal if he signed the same actor as the lead and thereafter the Luke character took off. Lonesome LukeBut Lloyd was unhappy, ready to ditch the whole thing and go into drama, or maybe work behind the camera. He just wasn’t satisfied being a clone. It didn’t challenge him intellectually or creatively. He needed some idea, and he got that idea from watching another picture, a drama where the protagonist wore glasses. I guess you could say Harold was doing the same thing he did aping Chaplin, drawing from another source. It took a while for the glass character to become what he is today but eventually the idea on what identity he should assume was as plain as the nose on his face. Harold would be Harold and that’s when he took off in a big way. (On Harold’s early work: None of the Willy films survive and a vault fire destroyed most of the Luke’s. Of the 70 or so Lonesome Luke shorts, only 12 are known to exist)As for Lloyd’s style - He had talent, but it was talent wrapped in a careful, concise, thinking mind. One could even argue that he over thought. Though he never took writing or directing credit, he did both. He was the final voice in his films, he refined and polished and added. He was the glue that put it all together and made it work. Without that, his films would have been random bits, nothing more. his first leading Lady Bebe DanielsThere are several distinct Lloyd comedic trademarks. The pull away to reveal something different was his most famous. For example, you see Harold in a chauffeured limo, the camera pulls back, the limo pulls away to reveal Lloyd as a poor schlub ridding a bicycle. Harold was also the fighter. While the bully would push around Keaton, Chaplin and especially Langdon, Harold would give as well as he could take and no bully would stop him for long. Harold was the genius, Keaton’s devices were left to fate… Buster's inventions were hilarious but almost Rube Goldeberg-like (why use the dog to chime the bell in “High Sign”, why not connect the string directly to the bell? Because it was funny of course). But Lloyd’s were practical. The glass character thought, planned, he succeeded. Another signature move: In most silent comedies, cops would harass the clown without provocation. Lloyd delivered a brilliant slant - the cop who wouldn’t listen or follow to help save the girl. What to do? Taunt him till he follows, and as you go keep hitting, pushing, annoying every cop you saw until you were leading an army of officers to the bad guys door. Snub PollardIn his early shorts Lloyd was the lead, but as part of a comedy trio, with the talented Bebe Daniel’s and Snub Pollard. Though the Australian born Pollard wasn’t a major star, he did have a quirky imagination and when Lloyd was hospitalized (see “Haunted Spooks”) and later left Roach to start his own studio, Snub was given his own series of shorts. If you get the chance to see Pollards, It’s A Gift (1923), do so. He plays an inventor and it’s a very cute ‘n clever short. Also the oddball craziness of Sold At Auction (1923). Directed by Charlie Chase, it shows off Pollard’s eccentricities (the melting screen, the army of mosquitoes) and wild physical style (He flies down the street on a runaway piano. And when struck with brass knuckles he flies impossibly through the air and crashes into a brick wall). Up next: The Lloyd Shorts...
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Post by Mighty Jack on Oct 28, 2009 23:12:58 GMT -5
Harold Lloyd ShortsThere’s no way to see the nearly 175 shorts Harold filmed, as many have been destroyed by fire. In truth though, it took Harold a looong time to find his niche. I looked over a few of his first half reel glass character shorts from 1917 and it’s astounding that there is so little humor and personality from the man. (To be fair – Lloyd wasn’t a vaudevillian; he didn’t have comedy roots as Keaton, Chaplin or Langdon did. He was going to be a stage actor. It was his association with Roach that thrust him into comedy and there was a huge learning curve for him). After exploring these movies, I jumped over 1918 and still found him struggling and unsure in early 1919 - before something finally clicked and late in the year he finally found the groove. It was then that the Harold Lloyd we know and love, was born. Luke’s Movie Muddle (12/3/1916) 1rThis is a clever piece that sees Lonesome Luke running a movie house. He does everything but act as the projectionist and in a cute scene he sells the ticket, runs over to tear the ticket, then acts as the usher. This bit is amplified when a line suddenly forms. Though Lloyd patterned the look of Luke to be Chaplinesque, I only saw a few Chaplin like moves and Harold is definitely not playing a tramp nor mining any bit of pathos Over the Fence (9/6/1917) 1/2rHarold plays a guy named Ginger? Who works in a clothing store. When his rival steals his tickets and takes Ginger’s gal to a ball game, Lloyd winds up a pitcher in the game. Harold goofs off and it’s not all that funny (save for his shimmy on the mound). But it’s of interest as the first appearance of Harold in the horn rimmed glasses. Bliss (10/14.1917) 1/2rFair – Harold in glasses tries to impress the family so he can marry the girl. The Flirt (11/11/1917) 1/2rHarold takes a job as a waiter so he can flirt with Bebe Daniels, only he finds out she’s married to the owner, Snub Pollard. What I saw was merely an abridgment; there is a minute or so of footage missing. But while it was cute, he’s still not the all American go-getter. Move On (12/9/1917) 1/2rHarold is Chester the cop (Chester? Ginger? I like it better when he just plays Harold). Chester would rather flirt than work. Short film again, is more a curiosity than a laugh riot. Ask Father (2/9/1919) 1rThis one shows off the Harold Lloyd of fame, he’s the determined young man in this one. Father is a cute 13-minute piece that foreshadows things to come (including a climb up a building). In it Harold proposes, but his intended tells him he has to ask father first. He tries, but is blocked from getting into the old mans office. Lloyd tries to gain enter in every way imaginable, added by secretary Daniels. He tries a suit of armor, a prop gun, dressing up as a woman… none of it works. Of course he loses one girl but gains a better one (the secretary). A Sammy in Siberia (4/6/1919) 1rHarold plays an American soldier who gets lost in Russia and aids a damsel in distress (Bebe Daniels). Lacks Lloyd’s signature styling and consists mostly of a lot of running around and bonks to the noggin. It’s strange, though he nailed it in “Ask Father” he still slips back and forth, as if he’s still unsure of the direction he wants to take the glass character. Billy Blazes Esq (7/6/1919) 1r This is a fair 1 reeler, a western improved upon in “An Eastern Westerner” (which was the first of his 9, 2 reelers), This pure cowboy fantasy, parodying William S. Hart films, has Lloyd riding into town to save the damsel in distress (Bebe Daniel). Playful, light, with some nice gunplay by Harold. Pay Your Dues (10/12/1919)One Lloyd’s last 1 reelers, Harold plays a lad who mistakenly gets involved with a secret lodge and is subject to their initiations. Bebe Daniel’s gathers the gals to storm the club and all ends well. This one was okay, though not a major work and it still leans too heavily on punches and what not. Bumping Into Broadway (11/2/1919) 2r A fast paced romance that featured his character’s usual ingenuity. Harold’s a play-write who gives his last dime to help the crying pretty neighbor pay her rent… only the landlords are now after his hide. He later runs into that same girl at the theater. (Note: Harold's less talented older brother Gaylord has an uncredited part here. Unlike Sid Chaplin or the Keaton family, Gaylord had little talent and was considered nothing more than a pale immitation of his famous sibling) On a personal note: Bebe Daniel’s and Lloyd had been an item and he proposed to her. But while she wanted to get married immediately, he wanted to wait and establish his career. Daniel’s eventually returned Harold’s ring, which she had turned into cufflinks and presented to him. He wore them for the remainder of his life. Bebe left Lloyd & Roach and accepted a contract with Cecil B. Demille and carved out a memorable career, starring with the likes of Rudolph Valentino in Monsieur Beaucaire. (I’m still hunting for her well reviewed Zorro take off, “The Senorita”) Daniel’s would eventually marry Ben Lyon and the two would find success in England on their show “Life With The Lyons”. On March 16, 1971, Daniels died of a cerebral hemorrhage in London at the age of 70 From Hand to Mouth (12/28/1919) 2rThis one is a lesser effort all told, but it’s still worth watching as Lloyd plays a starving man who helps keep a woman (Mildred Davis, his 2nd leading lady and the woman who would be his wife of 47 years) from being ripped off by a crooked lawyer. Davis wasn’t the best actress; she looks like a doll in curls, very much in the Mary Pickford mold. Haunted Spooks (3/31/1920) 2rA decent short, and a life changing one for Harold. While taking promotional pictures, Lloyd was handed what he thought was a prop bomb to light his cigarette… the bomb wasn’t a prop, it was the real thing and fortunately Harold moved the explosive from his face as it went KABOOM or it likely would have killed him (the force of the explosion blew a hole in the roof!). Lloyd was near death for 4 days. He suffered burns and had a reaction to the antibiotics used to halt gangrene. He lost his thumb, a finger and part of his palm, he was blind in both eyes and Dr’s weren’t certain he’d ever regain his sight. 3 weeks later sight return in his left eye, it took another 3 weeks before he would be able to see with his right. After a 9 month recovery period, a prosthetic glove was created and shooting resumed. It’s interesting to see the shots with his real hand, and others with the glove (he is also noticeably thinner). The accident changed Lloyd’s creative output; there came a new maturity to his stories and sophistication to the gags An Eastern Westerner (5/2/1920) 2r Another western, this one is better than the first (Billy Blazes). Harold is a slick city boy out of his element in a western town. But he manages to save the day through grit and imagination. The bit where he outwits and outruns a gang of hooded thugs is priceless. Classic Lloyd (BTW - His brother Gaylord plays the waiter who drops the ice cream) High and Dizzy (7/11/1920) 2rMore hi-jinks on a building. Light piece that gives us Harold as a Doctor without patients (the biggest laugh was had here, when Lloyd walks into the office with a manikins head atop his). The 2nd part shows him and a pal on a drunk. In the final act, a potential patient (Mildred Davis) sleepwalks into his room. This is not a great Lloyd flick, though there are some good gags (the bell at the Hotel). Harold is an obnoxious drunk, almost Sennett like (as when he meanly whacks off a guys top hat) hence it’s out of character and one of the only times I didn’t care or root for him. Get Out and Get Under (9/12/1920) 2rIn an early close up shot, you can see some scars from the accident on his face. Harold pulls a fast one on his audience, as he makes us think the stories going one way, when instead it’s heading elsewhere. Harold’s a self-absorbed actor who loves his new car and is late for the show he’s starring in. Loads of funny bits, this is one of Lloyd’s best shorts. As Chaplin did earlier in one of his films, Lloyd shows us an intravenous drug user… it’s odd to see this used for a laugh (Harold uses the addict’s drug to get his stalled car going), Number, Please? (12/26/1920) 2rIf it can go wrong, it does for Harold who’s trying to win the heart of a gal who has caught his eye. Though Lloyd does mug a bit much for my taste this time out, this is a very funny short and for a change, Harold doesn’t get the girl. Now or Never (5/5/1921) 3r Harold bumps into his boyhood sweetheart who ropes him into watching over a little girl while on a train. Harold works well with the cute tyke and an early scene where he’s trying to entertain her reminded me of Mr. Bean’s 2nd film. I also enjoyed the ‘glass of water’ sequence (he goes to all this trouble, and she only takes a tiny sip). The film sees the rare use of a cyclorama in a Lloyd film (while atop the train and earlier as he struggles with a tramp under it). This device was a painted backdrop that would circle round and round as the actor ran on a treadmill. Most of the time Harold would film gags and stunts practically. While the bit is funny, it does lose some tension seeing that fake background. Among Those Present (7/3/1921) 3rHarold pretends to be a Lord, attends a high society party and loses his pants. This was a long short 35 minutes I Do (9/11/1921) 2rHarold baby-sits. This is probably funny, but an irritating brat who gets into things and wreaks havoc stresses me out too much to laugh. It’s likely a good thing I never had children. The short illustrates the preview process Lloyd employed and perfected, Harold was the first to use previews the way he did. Back when he was doing 1 reelers, he used to film several takes, at different angle with different outcomes (because of the expense, most 1r films were shot in one take only). He then would preview these various takes to see what garnered the most laughs. “I Do” started off as a 3 r short, but the opening reel -Harold and his gal elope, with the help of her parents who liked and approved of him- while it got laughs, wasn’t getting what he wanted. Harold went back, filmed a shorter introduction and this time it got the response he desired. It’s too bad that these cuts were likely destroyed, how cool would it be to see these clips and judge for ourselves. Never Weaken (10/22/1921) 3rHeartbroken Harold figures he’d be better off dead than to live without his true love. This short is another that settles into the thrill comedy style as Harold winds up high atop a construction site. This very funny film is a good example of how selective the silent film world was, and yet we accepted it. When Harold’s been pulled out of the building and floating free, he thinks he’s died, there’s a choir singing, an angel nearby (it’s made of stone btw). This is all hilarious, but if you think of it… why is it Lloyd can hear the choir but not the noisy construction going on right next to him? That’s the uniqueness of the era, the film had to tell us what to hear and it could pick and choose selectively. Dogs of War (1923)Hal Roaches biggest properties were Lloyd and the Our Gang shorts. Here he pairs them up, Lloyd is on the “Why Worry” set when the gang, trying to evade the lots security guard, is helped out by the star. Harold’s part is very small, a mere cameo.
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Post by Mighty Jack on Oct 30, 2009 0:29:49 GMT -5
Lloyd's Silent Feature Films: Part 1In his review of the Harold Lloyd DVD box set, R. Dixon Smith offered... "When readers of Photoplay magazine were asked to choose their favourite comedian in 1922, Charlie Chaplin received 3,060 votes, but Lloyd got 4,650. His films were as popular as Chaplin’s, and he always outgrossed Buster Keaton. “If plain laughter is any criterion,” James Agee wrote in 1949, “few have equalled him, and nobody has ever beaten him.” Onward then, to the stronget part of Harold's career, his silent full length features... A Sailor-Made Man (12/25/1921) 4rHarold eats his hat? This started off as a 2 reeler but Lloyd filmed so much footage that he didn’t want to cut, that it extended to 4 reels - a strange no mans land. In the era of silent film 3 reels and under was a short, 5 and up was a feature, but 4? Harold considered it a short, but it was sold as a feature and that’s how history records it and so it is considered his first full-length movie. Harold plays a rich lad who enlists in the Navy so that he might prove worthy to the father of the gal he wants to marry. He proves himself thusly while on leave in a foreign land. Saving the girl (Mildred Davis – whose father charted the family yacht to that same spot) from an evil sultan who kidnapped her. Great fun, loaded with hilarious bits, such as the scenes where Harold impresses Navy bully (Lloyd regular, Noah Young) with his great fighting ability, so much so that the two become friends. Jobyna Ralston, who will eventually become Lloyds leading lady, has a small part in the film. I’ve never been able to spot her, even when studying still photography. I imagine she’s one of the harem girls (as she’s spoken of sequences filmed in that section of the movie) but she could also be hanging around in the background in the country club scenes. Grandma’s Boy (9/3/1922) 5rHarold plays a cowardly lad who lives with his kindly grandmother. After several humiliations, granny gives her grandson a magic charm that will make him brave and that’s when the movie takes off. G.B. is high-spirited fun and a well-written character driven story. According the book “Harold Lloyd, Master Comedian” (co-authored by granddaughter Susan), Harold had wanted to draw upon the mind over matter theme for quite a while, yet it was also influenced by Chaplin’s “The Kid”. The Kid was the prototype for using dramatic content in the comedy, where gags were structured more to tell the story and develop character. After a lukewarm preview, Roach and Lloyd added more gags, but not at the expense of the story and that helped. But they also added an expensive cartoon character named Icky, who represented the boys good and bad spirit, which didn’t… so Icky was gone (but boy what I wouldn’t give to see THAT footage!) The film boasts several memorable moments: The bit with the cats licking Lloyd’s shoes because grandma used goose grease to shine them. The Civil War flashback is brilliant. And while it drew from other sources, it also inspired others. Keaton’s the General, the genteel comedy of Chaplin’s The Pilgrim. In fact Charlie Chaplin called it one of the best-constructed screenplays he’d ever seen. Keaton and director Erich Von Stroheim praised the movie, as did critics. Of Note: The funny bit with the black cat was all Harold, that was his gag and it made the scene all the more funny. It’s also based on truth; Harold was very superstitious in real life
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Post by Mighty Jack on Oct 31, 2009 3:28:12 GMT -5
Dr. Jack (12/19/1922) 5r Jack is a lesser effort with a handful of high water marks: (mostly early on, when he treats Mickey Daniels, of “Our Gang” fame or is shooing cows from his path). Harold plays a Dr. with unconventional but effective methods. The story takes a strange turn when Lloyd riffs on Lon Chaney and pretends to be a raving lunatic in disguise in order to help a sick girl (Mildred Davis) who is being treated by a quack. For me the movie nosedives as it leans on standard chase and pratfall routines that are nowhere near as inventive or sharp as those seen in films such as “Kid Brother”. That it’s more a gag comedy than a character comedy -which I prefer with Lloyd- is probably the contributing factor to why it’s my least favorite from his feature. Though it wasn’t as well received critically as Grandma’s Boy, it did make more money and was one of the top 10 grossing films of 1922, Safety Last (4/1/1923) 7r Harold’s most famous “thrill comedy” is notable for the iconic imagery of our hero hanging from a clock. Even people unfamiliar with Harold’s work, have seen and recall that scene. The movie opens with one of Lloyd’s signature ‘pull backs’ – at first it seems he’s a prisoner going to the gallows… the reveal to the truth adds a surprising laugh and gets the film off on good footing, S.L. tells the tale of a poor department store clerk who has been writing to his gal about how successful he is as head of said store. When she shows up he’s caught in a bind, and needs money fast. His get rich scheme involves a promotion where a man climbs up the side of a building. Through a series of events, it’s Lloyd himself who gets stuck doing the climb. Though there are plenty of laughs and story throughout the movie, the hub of the entire production rests on that climb, and what a brilliantly conceived and filmed sequence it is. Filled with laughs as well as thrills (audiences in theaters, even in revivals shown today, out and out scream at certain bits). Though there was a small platform constructed several stories bellow Harold, when they tested it out using a dummy, the dummy bounced off the platform and fell to the street! Had Lloyd slipped his safety wasn’t guaranteed. The camera angles show the crowds bellow, you can see cars driving by as Lloyd climbs and meets one hazard after another. It adds to the tension and the reality of the situation much better than any modern effect could. (Long shots were human fly, Bill Strother, who plays Harold’s pal in the movie) Note: The disc available in “The Harold Lloyd Comedy Collection” includes an informative commentary by Leonard Maltin and director Richard Correll. This was Mildred Davis’s final film with Lloyd; she made a handful more after this but was effectively retired from the biz after she married Harold.
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Post by Mighty Jack on Nov 1, 2009 17:15:12 GMT -5
Why Worry? (9/161923) 6rLloyd plays a rich hypochondriac who goes to an island paradise to rest and recuperate, only he ends up in the middle of a revolution. This movie is best remembered for the giant Harold befriends (Sadly the original man they hired to play the role died days before filming began. A hasty search came up with an actor and circus performer, John Aasen who was ever taller and who did a superb job with the role). What I love about the relationship is that tradition would dictate that the giant would be a foe, or someone Lloyd would be terrified of. But no, he’s so nonplused it’s hilarious. When Harold pulls Colosso’s aching tooth, the giant turns into a loyal friend. Their camaraderie becomes the highlight of this or any other Harold Lloyd feature. There was another highlight as well, as “Why Worry” was the first film with his new leading lady, Jobyna Ralsten. Joby was perfect fit for Lloyd. She had such a natural warmth and kindness. She was also a much better actress than Mildred Davis, who was little more than a doll in curls. Here she plays Lloyd’s nurse who eventually snaps at him to fly right. Together the 3 take down a whole army. It’s a joyfully crafted and performed story. It was Harold’s daughter’s favorite, and one of mine as well. It was French comedian Max Linder (featured on the first post in this thread) who convinced Jobyna to try her hand at film (she had a part in Linder’s last American film, “The 3 Must Get There’s”, a film I’ve been unable to track down). She later was named a WAMPAS Baby star in 1923Girl Shy 4/20/24 8rHarold plays a painfully shy man who stutters when he gets around a girl, any girl. He’s is also an aspiring author who pens a self-help book on how to get women, citing his own experiences. Of course, it’s all a lie and it gets him laughed at. The one person who doesn’t laugh is Jobyna, who he meets on a train. Their first scene, at the train with the dog is cute. The courtship between the two is sweet and all seems well with the duo until Harold’s humiliation at the publisher’s office, after which he sabotages the relationship. Only when he finds out she’s to be married to a cad (and isn’t a failure like he thought) does he come out of his funk. Girl Shy is an enjoyable film, well directed by there are several memorable scenes (at the boat when Joby and Harold see each others reflections and at first assume they are dreaming. And of course the breathless race to get to the Church on time – which has a joke that is similar to the Fire truck bit seen in Keaton’s “Cameraman”). It pushed the sentiment a bit hard (and how could he break Joby’s heart like that in the park! lol) I’d categorize it cute, steadier than Dr. Jack, though not one of his major works ala “Why Worry”. Of Note: One bit of inspiration came when the camera was placed in a manhole to film Harold riding over in a horse and carriage. This scene inspired the makers of Ben Hur to use the same technique when filming their chariot race.
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Post by Mighty Jack on Nov 3, 2009 1:27:22 GMT -5
Hot Water (11/2/1924) 5rHarold gets married and meets the in-laws from hell. Misunderstanding and coincidences is the comedy device here. It’s not a major work but a cute little flick. (And it’s another where he does the hair standing on end gag). The turkey on the streetcar bit was the funniest part of the film and Jobyna is as fetching as ever. But while it made money and critics liked it, it wasn’t thought of as one of Harold’s very best. Lloyd himself didn’t have a high opinion of it. The Freshman (9/20/1925) 7rThis film is noted for the football game, a scene often shown on clip shows and documentaries on the silent comedy era. Arguably Lloyd’s funniest picture and it’s my personal favorite. It’s loaded with laughs and Jobyna and Harold have such great chemistry together. I’d easily rank it as one of the greatest comedies of all time – Essential Lloyd (plus the kitty lover in me gets a kick out of one particular scene) it is also quintessential Lloyd. It draws on sympathy as likeable Lloyd is mocked by the campus hot shots as he tries so hard to fit in. Joby convinces him to be himself and tells him that she believes in him. That’s all you the setup you need to send us into the final act and the hilarious big football game where the kid who never says die, gets his chance to shine. I like that this film isn’t one gag after another. It’s very funny, but it takes time to set up and tell a story. I think Harold might very well have influenced Keaton in this regard. Buster’s Steamboat Bill Jr. especially uses the model established by The Freshman. Set up the story, the relationships first, and then deliver the knock out ending. The Freshman proved to be Harold’s biggest hit, and was second to Chaplin’s “Gold Rush” (also released in 1925) as the most successful full length comedy of the entire silent era. For Heaven’s Sake (4/5/1926) 6rThe luminescent Jobyna Ralston plays a poor gal, Harold a rich boy who accidentally finances her father’s mission. There are a few familiar gags -as when Lloyd gets the pool hall gang to the mission by having them chase him there- but that scene was never the less, a riot (and it’s such a unique Lloyd signature gag that it’s well worth repeating). The film did well but Lloyd was never happy with it, he fiddle around with the editing for a long time and at one point he considered paying Paramount to keep it on the shelf! Strange how the artistic mind works – while this isn’t up there with The Freshman or Kid Brother (the movies that bookend it) it is a damn good comedy. It has proven to be a crowd pleaser over the years and is one I always enjoy watching.
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Post by Mighty Jack on Nov 5, 2009 1:23:57 GMT -5
The Kid Brother (1/22/1927) 8rHal Roach and Lloyd originally developed this project, but when the duo went their separate ways, each exercised their proprietary rights to the story – Roach titled his film “The White Sheep”, while Harold went with The Kid Brother. This story focuses on the youngest of 3 sons, played by Lloyd, a lad who never receives any respect from his strapping he-man brothers or their father. A medicine show rolls in to town, bringing with it 2 unscrupulous types, but also a kind and lovely woman (Jobyna Ralston). Harold falls for the girl and later, when the bad guys steal the townsfolk’s money that was entrusted to his father, he’s the one who saves the day and finally earns some respect. In the book, “Harold Lloyd: Master Comedian” the authors called this Harold’s penultimate silent film, and spoke accurately of its near perfect blend of character, story development and inventive gags. Kid Brother is also beautifully directed and shot – The early scene with the winding road, and a broken down ship in the background, was framed in an almost painterly manner. Another wonderfully staged sequence comes after Harold saves Joby from the villain. The two talk and sparks fly. When they say their farewells Harold acts like a lovesick teenager on the telephone, he just can’t say goodbye. The camera follows him as he climbs a tree to catch another glimpse of her. Each time she disappears from view, he climbs higher in order to see her again. It’s very romantic and sweet. The true geniuses of silent comedy turned physical gags into an art form and that’s in evidence here. The laundry scene for example is sheer brilliance. It’s not random pratfalls and facial tics, it’s a carefully detailed ballet, a thing of hilarious beauty. And this film is loaded with one great bit after another, from a clever way of washing the dishes to that darn monkey! Beyond that it’s just a delightful story, there are thrills, passion and drama. Kid Brother marked the last teaming of Harold and Jobyna. After this movie she went on to play a role in the film “Wings” (The first Best Picture Oscar winner). I’ve heard she had a lisp and that is why she didn’t make a splash in talkies. Too bad, she had a winning screen presence and was my favorite of all the silent comedy leading ladies. Joby would marry her Wings co-star Richard Arlen in 1927 (her second marriage) they had one child, Richard Jr. Her career at an end, she divorced Arlen in 1945 and faded from public view. Often in poor health,. she spent the last five years of her life suffering from rheumatism and had a series of strokes. She died on January 22, 1967 from pneumonia at the Motion Picture Country Home in Woodland Hills, Los Angeles, California at the age of 68. Speedy (4/7/1928) 8rHarold gives the finger on screen and gets away with it! Speedy is one of Lloyd’s best and signaled the end of an era: WAMPAS Baby star Ann Christy was Lloyd’s leading lady since Jobyna left, and she’s a jazzy, fun loving charmer. It’s too bad she didn’t do another with Harold as they worked well together. Harold plays her beau. He’s a guy who can’t keep a job (as seen in several funny bits) but he’s a good sort and who helps his gals aging father (known as Pops) keep his horse driven streetcar from falling into the hands of a gang of thugs (hired by a guy who wants to run pops out of business). This is a fun and frantic adventure but it also has some heart and quieter moments., “Speedy” was nominated for best Direction on a comedy (the only time Oscar offered the award) and many scenes were filmed in New York (What a historical treasure, to see Coney Island in its glory, plus Babe Ruth is around for the ride… literally). It’s funny to think – Lloyd was at the peak of his career, he owned his own company, built the biggest lot in Hollywood at the time (He later sold the property to the Mormon’s, and the Catholics –who built St. Paul’s Church and School) and yet an era was coming to an end. This would be Harold’s last silent film (he started another, but re-shot it as a talkie). And though he would continue to shoot some entertaining movies, he was never able to match the level of popularity and box office success he had with his silent features.
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