While at an amusement park, two men try to win the heart of a young lady. They compete with each other while attempting to find her runaway dog, and they race to ask her mother's permission to take her up in a hot air balloon.
Our hero (Lloyd) is infatuated with a girl in the next office. In order to drum up business for her boss, an osteopath, he gets an actor friend to pretend injuries that the doctor "cures", ... See full summary »
After numerous failed attempts to commit suicide, our hero (Lloyd) runs into a lawyer who is looking for a stooge to stand in as a groom in order to secure an inheritance for his client (... See full summary »
The young couple have decided to marry and it is time to ask the father for the hand of his daughter. Problem is, the father does not want to give the daughter away. So every time he goes ... See full summary »
Harold is spending the day at the amusement park, unfulfilled and alone. He thinks his day has the possibility of looking up when he spots Mildred, the girl of his dreams, on a date at the park with Roy. Harold thinks he can take Mildred away from Roy. Harold does whatever he can to impress Mildred, while putting Roy in a bad light. Ultimately, Mildred, who has two tickets for a romantic hot air balloon ride, says that she will take that ride with whoever can get the approval from her mother to do so first. Harold gets into one misadventure after another in the entire process, which includes being in possession of a stolen purse, which he is unaware belongs to Mildred and which contains the two tickets. Written by
Harold Lloyd wore gloves, with the right one modified to disguise his maimed hand. The gloves are visible in medium shots. But in two different close-ups, Harold's character isn't wearing gloves. See more »
NUMBER, PLEASE? (Hal Roach and Fred Newmeyer, 1920) **1/2
This middling Harold Lloyd short is neatly divided into three sections: concerning romantic rivalry at an amusement park, it starts off with a dog chase (this early part also involving a distorted mirror gag); the mid-section is devoted to the inventive telephone antics which give the film its title; the last part, then, resolves itself into a rather overstretched sequence in which Lloyd, chased by the police, tries to get rid of an incriminating purse.
Still, perhaps the single funniest bit occurs at the very beginning - a succession of title cards categorizing how various lovesick men deal with their predicament.
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