Always the mama's boy, or in this case a grandma's boy, Sonny joins a posse after a tramp accused of robbery and murder. He is unable to conquer his cowardice until Grandma tells him of his... See full summary »
Always the mama's boy, or in this case a grandma's boy, Sonny joins a posse after a tramp accused of robbery and murder. He is unable to conquer his cowardice until Grandma tells him of his grandfather, also a coward, who overcame his fears with the help of a magic amulet. With new courage (and the charm), Sonny captures the fugitive and becomes the hero of the day. Written by
Herman Seifer <email@example.com>
Originally intended as a serious movie, this film was altered by Harold Lloyd into a comedy by adding the gag scenes later on. See more »
Right after Harold has been deputized, he enters the barn and lets off a shotgun blast which stirs up a flock of chickens. In the long shot, the chickens are flying around Harold and he still holds the rifle; in the next shot, a medium shot, his hands are empty; in the following shot, which is another long shot, he's once again holding the rifle. See more »
Harold Lloyd's feature film debut is a first-rate silent comedy
About 20 years ago I was fortunate enough to see Harold Lloyd's first feature-length film, GRANDMA'S BOY, at a public screening. I recall that it went over very well with the audience, that Harold was highly sympathetic in the lead role, and that I found the movie pleasant and engaging, with a stronger storyline than some of Lloyd's later features. Now that I've rediscovered the film on DVD it's a pleasure to report that it holds up beautifully and, unlike some silent comedies, plays well on TV. GRANDMA'S BOY is a richly atmospheric period piece that is sweet, funny, and suspenseful, and certainly ranks with Harold Lloyd's best work. It's all the more impressive that this was Lloyd's first attempt at a longer film, for it marks a genuine stylistic break with the sort of thing he'd been making up to this point. Unlike some of Harold's earlier, "gag-happy" short comedies, this film offers a well-structured story built around recognizable human beings who inhabit a basically realistic world. The story is more character-driven than gag-driven, and more relaxed in tempo than Lloyd's earlier films. Admittedly, some of the rural characters are a little cartoon-y, but they don't behave outlandishly or pick fights at the drop of a hat in order to get laughs. And while there are certainly laughs along the way, everything seems to unfold naturally, and nothing feels forced.
GRANDMA'S BOY is set in the sleepy rural village of Blossom Bend, which, we are told, is "one of those slow towns where the Tuesday morning Express arrives Wednesday afternoon. If Monday's train gets out of the way." Except for a brief prologue and a flashback to the Civil War, the story takes place when the film was made, that is, in 1922, but in the sort of Town That Time Forgot that would have been considered a quaint throwback even then. Harold plays a young man who lives with his grandmother, and is someone who would be called a wimp-- or worse --nowadays. The prologue dramatizes Harold's lifelong inability to defend himself from bullies. He's a coward, he knows it, and he's miserable about it. On the other hand, Harold's grandmother is a peppery old lady who is not to be trifled with. (Anna Townsend plays this role, and she is wonderful). Grandma sympathizes with the boy's plight, yet also comes to realize that she's coddled him long enough, and that he must be tricked into finding the courage within himself.
This movie paints a nostalgic picture of small town life that was probably never so simple in reality, but, like the story of Tom Sawyer, it holds the powerful appeal of a genuine folk tale. Period charm is a major element of the film's strength, but in order to appreciate it fully a modern viewer needs a certain amount of historical perspective. For example: during one scene, when Harold is forced to wear his grandfather's ancient suit to a party, his embarrassment may be hard for us to understand. The other characters think he looks strange in his 19th century frock coat, but their own clothing looks just as odd to us as Harold's "old-fashioned" suit does to them, especially the leading lady's massive hair ribbon. (Did that thing look funny even in 1922? I'll bet the flappers thought so!)
The film's best known sequence is a flashback to the Civil War, as Harold's Grandma tells him of his grandfather's exploits behind enemy lines. This is the funniest portion of GRANDMA'S BOY, deliberately played in a "heightened" manner like a hokey stage melodrama. I was especially fascinated by the witch who helps Harold's grandfather triumph over his enemies; she wears heavy stage makeup, emotes like crazy, and looks like she must have a gingerbread house somewhere back in the woods. All of this wacky over-playing is acceptable, dramatically speaking, because we eventually learn that Grandma's story is, well, not entirely the truth. It's interesting that Lloyd and his colleagues took this approach to the Civil War sequence, but the reasons for doing so are not hard to imagine: when this film was made there were plenty of actual Civil War veterans still around, and the war and its aftermath lingered as a painful memory for many. Perhaps the filmmakers chose to treat the war scenes as jokey melodrama in order to make the material more palatable to contemporary audiences. A few years later, when Buster Keaton made THE GENERAL, he chose to treat the war with almost documentary-like realism while dropping black comedy gags into the mix, and some critics of the day felt his approach was in poor taste. Harold's version of the war is quite different from Buster's but still valid in its own way, and may well have influenced Keaton when he made his masterpiece.
As memorable as the Civil War sequence is, the strongest and most gripping section of the film depicts Harold's own transformation from coward to hero, as he manages to subdue a dangerous tramp who has been terrorizing the town. (The tramp is played by Dick Sutherland, an enormous actor with an unforgettable face.) This is a terrifically suspenseful sequence, alternately funny and thrilling, and it's followed by a deeply satisfying finale in which this lifelong sissy applies the lessons he learned in dealing with the tramp to the bully who has tormented him all his life. This is a film that leaves the viewer with a warm glow, one of the best movies Harold Lloyd ever made, and one of the top comedies of the silent era.
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