Born in Buchard, Nebraska, USA to Elizabeth Fraser and 'J. Darcie 'Foxy' Lloyd' who fought constantly and soon divorced (at the time a rare event), Harold Clayton Lloyd was nominally educated in Denver and San Diego high schools and received his stage training at the School of Dramatic Art (San Diego). Lloyd grew up far more attached to his footloose, chronically unemployed father than his overbearing mother. He made his stage debut at age 12 as Little Abe in "Tess of d'Ubervilles" with the Burwood Stock company of Omaha. Harold and his father moved to California as a result of a fortuitous accident settlement in 1913. Foxy bought a pool hall (that soon failed) while Harold attended high school. The pair were soon broke when his father suggested he try out for a job on a movie being shot at San Diego's Pan American Exposition by the Edison Company. On the set he first met Hal Roach who would be the most influential person in his professional life. Then moved to Universal and then Mack Sennett. In the meantime Roach had inherited enough money to begin a small production company (Phun Philms, quickly renamed Rolin, with a partner who he soon bought out) and contacted Lloyd to star in the kinds of films he wanted to make: comedies. On the basis of a handful of self-produced shorts starring Lloyd, he managed to land a production contract with the U.S. branch of the French firm, Pathe, who literally paid Road by the exposed foot of film. Things were touch and go in the beginning, with improvised scenarios, outdoor shoots meaning Pathe rejected several of their first efforts, resulting in missed paydays. During his first contract with Roach he appeared in "Will E. Work" and then "Lonesome Luke" comedies, essentially cheap variations of Charles Chaplin's Little Tramp character. He abandoned the character in disgust in late 1917, adopting his "glasses" persona, an average young man capable of conquering any obstacle thrown at him. He began cementing his new image with Over the Fence (1917), that ushered in a prolific number of shorts through late 1921, often releasing 3 per month. In his "glasses" personification, Lloyd's popularity grew exponentially with each new release, but Lloyd rapidly grew dissatisfied with his relationship with his producer. Roach and Lloyd fought constantly; it's not so much that he didn't want to work for Roach, he didn't want to work for anyone - a trait he himself recognized from early on. To be fair, Roach was increasingly preoccupied with other stars (The "Our Gang" series was launched to huge success in 1922 and he also produced ''Snub' Pollard' shorts, among others) - and although he would always resent Lloyd's attitude and ultimate defection to Paramount, the loss of his major star wouldn't financially cripple him. Lloyd had his own quirks; he fell in love with his first co-star Bebe Daniels, who left him after it became apparent he was unable to make a commitment (the two would remain friends however). Lloyd, in his own way was decidedly complex: he could be professionally generous (often allowing debatably deserving directorial credit to members of his crew) while being notoriously cheap, yet he practiced little financial self control in anything that concerned himself. Lloyd was wildly superstitious, engaging in strict rituals about dressing himself, leaving through the same doors as he entered, and expected his chauffeurs to know which streets were unlucky to traverse. As his finances improved with age he happily indulged himself with a myriad of hobbies that would include breeding Great Danes, amassing cars, bowling, photography, womanizing, high-fidelity stereo systems. He was open minded about homosexuals while being practically Victorian in his ideas about raising his daughters. He had an enormous libido and rumors abounded about illegitimate children and according to Roach, chronic bouts with VD. Most traumatically, he suffered the loss of his right thumb and forefinger in an accidental prop bomb explosion on August 14, 1919, just as his career was starting to take off. Lloyd would go to great lengths to hide his disability, spending thousands on flesh-colored prosthetic gloves and hiding his right hand whenever knowingly photographed, even long after his career ended. Upon his recovery he completed work on Haunted Spooks (1920) and successfully renegotiated his contract with Pathe, which began a career ascent that would rival Chaplin's (indeed, Lloyd was more successful, considering grosses on total output as Chaplin's output soon dwindled by comparison). Lloyd began feature film production with the 4-reel A Sailor-Made Man (1921). It began as a 2-reel short but contained, in his words, "so much good stuff we were loathe to take any of it out." It became a huge hit and continued to release hit features with ever increasing grosses but split with Hal Roach (who retained lucrative re-issue rights to his earlier films) after completing The Freshman (1925), one of his finest films. Pathe's U.S. operations quickly unraveled after their U.S. representative, Paul Brunet returned to France, and Lloyd made a decisive move (Roach himself would also leave Pathe, opting for a distribution deal with MGM - Mack Sennett, also distributed by Pathe, would be financially ruined). After weighing various attractive offers, Lloyd signed an advantageous contract with Paramount and racked up another hit with For Heaven's Sake (1926), one of his weakest silent features, yet it grossed an astonishing $2.591 million, nearly equaling "The Freshman" and astonishing even himself.
Lloyd could do no wrong throughout the 1920s, he consistently earned at or near $1.5 million per film with his Paramount contract, and seemed invincible. He married his second co-star Mildred Davis on February 10, 1923 and she retired from acting (replaced by Jobyna Ralston). He built a huge 32-room mansion he christened, "Greenacres" that took over 3 years to complete and the couple eventually had 3 children. His final silent film, Speedy (1928), shot on location in New York, was one of the few major hits of the sound transition period and remains (as do most of Lloyd's films) thoroughly enjoyable today. The advent of sound proved problematic for the comedian. His films were gag-driven and his writing team was wholly unaccustomed to converting their type of comedy into dialog. While his first sound effort (although began as a silent), Welcome Danger (1929) grossed nearly $3 million, by any standard it's a bad film, and marked a serious decline in Lloyd's screen persona; he became a talking comedian. Ironically, as bad as the film is, it would prove to be the last solid hit of his career. His next talkie, Feet First (1930), included a climb reminiscent (but technically superior to that) of his hit Safety Last! (1923), only being in sound, it contained every grunt and groan and proved painful to watch. With a gross of less that $1 million, Lloyd would see slightly over $300,000, his smallest feature paycheck to date, and it became clear he was in trouble. Lloyd fought back with Movie Crazy (1932). Generally regarded as his finest talkie, it grossed even less than "Feet First." Lloyd left Paramount for Fox and suffered his first outright flop with his next feature, The Cat's-Paw (1934), which grossed $693,000 against a negative cost of $617,000 ---resulting in red ink on a net basis. The miracle Harold Lloyd needed to salvage his career would never happen, but he refused to go down without a fight. Amazingly, the public was oblivious to his decline, and he was widely considered as one of the few silent comedy stars to have made a successful transition through the first decade of sound. But to those within the industry, the numbers didn't add up. Back at Paramount on a 2-movie deal, Lloyd starred in The Milky Way (1936), a better-than-average comedy that pulled a world-wide gross of $1.179 million, but it had production budget exceeding $1 million, resulting in a $250,000 loss for the studio. Paramount was livid, demanding a personal guarantee from Lloyd on anything over $600,000 for his next film, Professor Beware (1938). The comedian soon discovered he couldn't complete the film within the required budget and did something unprecedented --for him at least-- he invested his own money. The final production cost was $820,275 - and it grossed a mere $796,385 - and as a result of a complex payment deal, Lloyd ended up personally losing $119,400 on its initial release (he would eventually recoup the bulk of his losses over the next 35 years). At the relatively young age of 45, Harold Lloyd's Hollywood career was effectively over. Still immensely wealthy from a conservative investment strategy, and always hyperactive, he sought out ways to occupy his time, dragging his kids on marathon movie nights all across Los Angeles and falling back on his many hobbies. Foxy, who had handled the bulk of his correspondence (almost all Lloyd's pre-1938 autographs were actually signed by Foxy) and had carefully documented his press clippings since his acting career had began, retired to Palm Springs in 1938, leaving a void in Lloyd's life. He produced two pictures for RKO, A Girl, a Guy, and a Gob (1941), and a Kay Kyser vehicle, My Favorite Spy (1942) which must have looked good on paper but went nowhere at the box office. This ended his career as a producer. He would sign a $25,000 deal with Columbia in 1943 for a comeback project that never materialized. In 1944 Lloyd was approached by director Preston Sturges who envisioned a first-rate vehicle for him entitled, The Sin of Harold Diddlebock (1947). The production launched Sturges' new California Pictures, was financed by Howard Hughes, and initially released by United Artists. It which proved to be a nightmare for everyone concerned. Its $1.7 million production cost proved to be an insurmountable obstacle preventing it from profitability and the eccentric Hughes withdrew it from circulation, later retitling it "Mad Wednesday," re-editing and re-releasing it as an RKO feature in 1951 to an even more dismal box office. Lloyd would also zealously protect ownership of his material and was quite litigious. He successfully sued MGM over their unauthorized poaching of his gags on a Joan Davis vehicle, She Gets Her Man (1945) (sadly an action that put the final nail in the professional coffin of the hopelessly alcoholic Clyde Bruckman). With his career at an end, Harold renewed his interest in photography and became involved with color film experiments. Some of the earliest 2 color Technicolor tests had been shot at Greenacres in 1929. In the late 1940s he became fascinated with color 3D still photography and often visited friends on film sets. Throughout the late 40s and well into the 1960s Lloyd indulged himself with glamor models. At his death, his collection of 3D stills numbered 250,000 (the vast majority of which are nudes). Recently his granddaughter published an elaborate book of photos carefully excised from the collection. In the late 1940s Lloyd became an active member of the Shriner's (he'd joined originally in 1924) and an effective administrator for their Los Angeles crippled children's hospital. Harold is reported to be the only actor that owned most of the films he appeared in (sadly many of the earliest ones were destroyed in a nitrite fire in a vault at Greenacres in 1943). This ownership gave him the ability to withhold his films from being shown on television; Lloyd feared incorrect projection speed and commercials would damage his reputation. As a result, a generation of film fans saw very few of his films and his reputation was diminished. He did release 2 compilation films, of which the first, World of Comedy (1962) was very successful. Mildred descended into alcoholism in the 1950s and died in 1969. Lloyd occupied his time with extensive travel (he thoroughly enjoyed speaking engagements where he could interact with students on the subject of silent film) and continued his pathological passion for his hobbies through the end of his life. He became interested in high fidelity stereo systems and habitually ordered several record companies' entire annual catalogs, eventually amassing an LP collection rivaling most record stores. He enjoyed cranking music to volumes that caused the inlaid gold leaf on Greenacres' ceilings to rain down on anyone below. Conversely, he balked at modernizing anything inside the mansion, seeing improvements and redecorating as things that would survive him, and thus a complete waste of money. Lloyd was diagnosed with a recurrence of cancer by his brother-in-law, Dr. John Davis (Jack Davis, who starred in early "Our Gang" shorts) and died on March 8, 1971. His son, Harold Lloyd Jr. was an alcoholic homosexual and died soon afterward. Although Lloyd left an estate valued at $12 million (in 1971 dollars), he failed to make a provision for the maintenance of Greenacres, a blunder that would seriously complicate his estate. His granddaughter Suzanne Lloyd has been largely responsible for restoring his reputation of late, working to preserve his surviving films; many have been issued on HBO Video, Thames Video. Several have been superbly restored with new musical accompaniments and are shown periodically on TCM.
Harold Clayton Lloyd was born in Burchard, Nebraska on the 20th of April 1893. When Harold was 12 he joined the theatre usually just performing with his high school. Harold's father (nick-named 'Foxy') was not successful at business and Harold's mother regretted marrying him. Later, actor John Lane Connor asked Lloyd to go to Los Angeles with him. Lloyd, now divorced, won $3000 after an accident. They flipped a coin - it was either heads to California or tails to New York and it came up California according to Lloyd's daughter, Gloria, in "Harold Lloyd, The Third Genius" (1989) undoubtedly the most informative documentary on his life, which was produced by film historians David Gill & Kevin Brownlow.
While Harold and John Lane Connor were in San Diego, the Edison film company asked Connor to supply extras. This led to the first movie appearance of Lloyd in a 1913 film called The Old Monk's Tale (1913). That year Lloyd was cast as an extra in a movie called Rory 'o The Bogs where he came upon another extra, Hal Roach. They also appeared later on in Samson (1914) and in The Patchwork Girl of Oz (1914). In 1915 Roach had developed a new film company and he invited Harold Lloyd for his own series. The studio now had a new name, Rolin. Harold was a slow developer at comedy. His first character was called Willie Work, later Lonesome Luke, which was an imitation of Charlie Chaplin's tramp character. Just Nuts (1915), the first Lonesome Luke, was a success and Roach wanted no change. Finally in 1917 Lloyd thought up a new character called simply "Glasses" character. Lloyd directed the first of these movies but later knew it's impossible to act and direct at the same time. Roach had later claimed he had invented the character but it was indeed Lloyd's idea. He was joined by a huge company including 'Snub' Pollard & Bebe Daniels.
In 1921 it was time for Lloyd to begin making feature-length comedies. The first of these was A Sailor-Made Man (1921) which was a huge a success. It was followed by Grandma's Boy (1922). Lloyd wanted Grandma's Boy to be just a dramatic picture but when he previewed it in a theatre the audience was not laughing. So Roach got all the writers to work out gags for the picture. After the film was released Lloyd recognized it as one of the greatest accomplishments.
Next came an interesting picture called _Doctor Jack (1922)_followed by Lloyd's most spectacular film, _Safety Last (1923)_ in 1923. The film showed Lloyd dangling from a clock on the side of a building. At the end of that year Lloyd left Roach and formed his own company called 'The Harold Lloyd corporation' where for the first 2 years he distributed his movies through Pathe and later for Paramount. His most popular film was The Freshman (1925) in 1925. In 1928 Lloyd had already written his own autobiography "An American Comedy" the same year where he made his last silent film entitled Speedy (1928).
In 1929 Lloyd began making a film called Welcome Danger (1929)where he originally shot it as a silent film but later on he re-shot it as a talking film. His career was going down with the dawn of sound. He made one more thrill picture called Feet First (1930)in the style of Safety Last. But with the depression hitting, he no longer achieved the same fame as he did in the roaring twenties. He returned two years later with an amazing film which was regarded as his best talkie. The movie was Movie Crazy (1932) where Lloyd considered he was at his funniest. Convinced it was a hit he went on a trip to Europe. He later returned to Hollywood and had learned that the film had been a flop, he reduced himself to one film every two years. He made another great talking film entitled The Milky Way (1936) in 1936, directed by Leo McCarey. After one of his last movies, Professor Beware (1938), although he didn't exactly retire he just drifted away from the film industry. He produced two more films for RKO in the early 40s before retiring. After that he found many more interests including the study of colour and such. Later on he took numerous photographs of Marilyn Monroe.
In 1947, director Preston Sturges, who had never forgotten 'The Freshman' wanted to make a tribute to Lloyds career. So Lloyd agreed to make a movie with Sturges, which in the end was titled The Sin of Harold Diddlebock (1947), but it didn't reach the top. Three years later producer Howard Hughes re-issued and edited it down to 79 minutes and changed the title to Mad Wednesday. Lloyd was now nearly forgotten. Although the film was unsuccessful, in 1951 Lloyd was nominated for a golden globe for best Motion Picture Actor in a musical or comedy. But he did receive an honorary Oscar in 1953 for being a master comedian and good citizen.
In 1962 he compiled some of his silent comedies into two documentaries, which were called Harold Lloyd's World of Comedy & another one in 1963 entitled Harold Lloyd's Funny Side of Life. Lloyd re-released some of his films and his fame was coming back but not as it once was. He died in 1971 at the age of 78. He was also known for his generous charity work. His stars on the walk of fame are at 6840 Hollywood Blvd & at 1501 Vine Street, California.
|Mildred Davis||(10 February 1923 - 18 August 1969) (her death) 3 children|
Excelled at thrill comedy which had his characters in jepoardy with dangerous stunts (i.e. the clock hanging scene in Safety Last! (1923).)
In the prime of his career, Lloyd's most famous role was the "Glasses" character, a young eager all-American man who was out to succeed in life and absolutely no physical obstacle would stand in his way as he risked life and limb to achieve his goals.
Frequently played characters named Harold
His home, "GreenAcres" has 44 rooms, 26 bathrooms, 12 fountains, 12 gardens and is listed on the National Register of Historic Places.
One of the 36 founders of the Academy of Motion Picture Arts and Sciences (AMPAS).
A 1919 accident with a prop bomb which turned out to be a live bomb, cost him the thumb and forefinger of his right hand. In subsequent films, he wore a glove and prosthetic device to hide it. Remarkably, he was able to do many of his gags (he employed a stunt man for serious stunts) convincingly afterward.
Lloyd's "Glasses character" was the inspiration for Superman's identity as Clark Kent. Like that character, Lloyd found that he could hide his identity simply by taking off the glasses.
Interred at Forest Lawn, Glendale, California, USA, in the Great Mausoleum, Begonia Corridor.
According to the book, "The History Of Pulitzer Prize Winning Plays", Lloyd was originally slated to play the lead role of Elwood P. Dowd in Mary Chase's Broadway stage play "Harvey". Lloyd turned the part down, and it then went to Frank Fay.
Pictured on one of ten 29¢ US commemorative postage stamps celebrating stars of the silent screen, issued 27 April 1994. Designed by caricaturist Al Hirschfeld, this set of stamps also honored Rudolph Valentino, Clara Bow, Charles Chaplin, Lon Chaney, John Gilbert, Zasu Pitts, Theda Bara, Buster Keaton, and Keystone Kops.
Was immortalized in "Futurama" (1999) episode S03E08: That's Lobstertainment. In this episode we find out that Dr. Zoidberg has an uncle who was a silent actor, Harold Zoid.
Aside from two talking films, The Milky Way (1936) & The Sin of Harold Diddlebock (1947) (AKA "The Sin of Harold Diddlebock"), all films from 1922 through Grandma's Boy (1922), were owned by Lloyd. Many of the pre-1920 shorts were lost in a nitrate explosion in his film vault in 1943 and are now considered lost. A limited number of films rights were sold to Time-Life in 1998, and released on VHS format. The estate rejected offers to release them to DVD up until 2005, when they accepted an offer from New Line (some have also been restored and shown periodically on TCM). His films are set to be released on DVD somewhere in the next two years (2006-2007) (The two talking films are in the public domain, and all films before 1922 are owned by KINO having passed from Pathe and Roach)
He adopted daughter Marjorie Elisabeth Lloyd in 1929, when she was five years old.
Brother of Gaylord Lloyd.
Grandfather of Suzanne Lloyd Hayes.
After Lloyd's career as an actor deserted him in 1938, he immersed - some would say drowned - himself into one hobby after another. While he bred Great Danes and collected cars earlier in life, he would later indulge himself in marathon movie nights several times each week, and become rabidly interested in photography (which allowed himself intimate contact with innumerable models) and later, in hi-fidelity sound systems. He placed standing orders for the entire catalogs of several record companies, amassing an enormous record collection.
His actual autographs prior to 1936 are quite rare. His father, J. Darcie 'Foxy' Lloyd, was given the job as the official fan mail correspondent within the Harold Lloyd Corporation. Foxy's signature is easy to recognize - it's right out of the 19th century and quite florid. HL's signature is much plainer and common. His father retired to Palm Springs in 1936. HL found it impossible to dodge autograph seekers when he began whirlwind movie/bowling nights around Los Angeles as his acting career wound down about the same time. Real pre-1936 autographs exist mainly on contracts and extremely personal correspondence to Bebe Daniels.
Head of jury at the Berlin International Film Festival in 1960.
Parts of Westworld (1973) were shot at his estate, GreenAcres. He had expressed a desire to see his home preserved in some capacity related to his career, but his will strangely neglected any funding for the enormous estate. His heirs briefly opened it as a tourist attraction (and filming location) but this failed to generate adequate income and it was later sold.
Sam Taylor was the most important director for him.
Was once one of the 10 richest entertainers in the world.
Lloyd was extremely superstitious. His daily routines were dictated by his superstitions: he maintained that certain streets were unlucky and his chauffeurs were instructed to avoid them. He would habitually enter and exit rooms from the same doors and dress and undress in precise reverse order.
While never credited as a writer through his entire career, Lloyd was in fact the driving force behind all of his movies, from Grandma's Boy (1922) throughout the silent era. He came up with most of the stories and gags and structured them together with his team.
His hobbies included 3-D photography. He took hundreds of stereo images of Hollywood stars such as Marilyn Monroe, John Wayne, Sterling Holloway, Richard Burton and Roy Rogers. Many of these photos are reproduced in the book "3-D Hollywood: Photography by Harold Lloyd", which was edited by his granddaughter, Suzanni Lloyd Hayes, and comes with a 3-D viewer.
A famous story about Lloyd concerns he and composer Gaylord Carter regarding the scoring of Lloyd's film Safety Last! (1923)) for a re-release in the Lloyd He was present during the recording session; during the sequence from the film in which he is scaling the side of a building, he loses his grip and catches hold of the hands of an enormous clock. During this moment, Carter at the organ swung into the song "Time on My Hands", which prompted Lloyd to give Carter a mock stern glance and declare, "Gaylord, I'LL do the jokes!".
Before moving into his famous home Greenacres in 1928, Lloyd and his wife lived at 502 South Irving Boulevard in Los Angeles, just south of Hollywood. The house still exists. Before that, up until shortly after his marriage in 1923, Lloyd live in a large two-story house on Hoover Street.
He was a staunch Republican and conservative.
Merian Cooper rented several of Lloyd's purebred Great Danes for the hunt sequence of "The Most Dangerous Game" when he realized the leopards called for in the script weren't practical (even for him). He dyed the dogs' hair black to make them look more ferocious.
Comedy comes from inside. It comes from your face. It comes from your body.
I do not believe the public will want spoken comedy. Motion pictures and the spoken arts are two distinct arts.
[when asked why he abandoned his Lonesome Luke character and that type of character] Charlie [Charles Chaplin] had the market cornered on that. He had it down to a science.
[when asked whether the transition from silents to sound made any problems because of his voice, as with so many other stars from the era] I had to work a little on my voice because I hadn't used it for years. I went to a voice coach for about five days, and then he said, "Good-bye, you just weren't using it right".
In a feature picture I like quite well, the one in which I'm hanging on a clock, Safety Last! (1923), and which is probably one of our most popular, we did the final scenes of that climb first. We didn't know what we were going to have for the beginning of it. We hadn't made up the opening and after we found that we had, in our opinion, a very, very good thrill sequence, something that was going to be popular and bring in a few shekels, we went back and figured out what we would do for a beginning, and then worked on up to what we already had.
[in 1970] My humor was never cruel or cynical. I just took life and poked fun at it. We made it so it could be understood the world over, without language barriers. We seem to have conquered the time barrier, too.
[on his horn-rimmed glasses] At a cost of 75 cents they provide a trademark recognized instantly wherever pictures are shown.
[on Bebe Daniels] She's a wonderful individual and I can understand why she's tremendously revered in Great Britain. She's very warm-hearted and she has a habit of giving -- never lost it!
[In comedy] one situation leads to another - one 'gag' builds up its successor.We seek always to build up every situation to the 'topping-off' point. The top-off gag of any situation must always must have a greater force than any other in the sequence.
The man who tries to be funny is lost. To lose one's naturalness is always to lose the sympathy of your audience.
The spectacle of a fat man slipping on an icy sidewalk never fails to get a laugh. The same is true of a man attempting to drive a nail and mashing his finger in the process, or a man with his arms full of bundles attempting to keep his hat from blowing off. These things are funny because they have happened to all of us and probably will happen again. They are trying experiences for the individuals involved and we sympathize with them. But we laugh, nevertheless because they are human touches.
The more trouble you get a man into, the more comedy you get out of him.
[To Buster Keaton on his move to MGM in 1928] They're not your crowd; you'll lose.
|Just Nuts (1915)||$5/day|
|Professor Beware (1938)||$125,000|
|The Sin of Harold Diddlebock (1947)||$140,000|
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