Two rich capitalists want to marry their children, but they don't like the idea at all. She tries to run away, and meets him at the station. They fall in love, unbeknownst to their real ... See full summary »

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Cast

Cast overview:
...
Wilson - the Groom
William V. Mong ...
George - the Bride's Father
...
The Bride
Milla Davenport ...
Mother
William Blaisdell ...
Gov. Harrison
Max Asher ...
Butler
Al Hallett ...
Mr. Gloom - the Valet
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Storyline

Two rich capitalists want to marry their children, but they don't like the idea at all. She tries to run away, and meets him at the station. They fall in love, unbeknownst to their real identities, and decide each on their own that they have to wreck their parents plan. He asks his valet, to put a small postscript on his letter of introduction, stating that he's crazy and has sometimes (at least six times a day) crazy spells. To try this he uses an innocent victim, who promptly phones the insane asylum, that one of their patients is on the loose. At his future parents-in-law's home he acts crazy, till the moment he finds out, who the intended bride really is. Her completely shocked father asks the family doctor about how to behave with a lunatic and receives the advice to act crazy herself, follows it, and is promptly taken to the insane asylum. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

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Short | Comedy

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22 August 1926 (USA)  »

Also Known As:

Zo sluw als een vos  »

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1.33 : 1
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User Reviews

 
Not politically correct, but who cares? A brilliant short!
17 December 2005 | by (France) – See all my reviews

This hilarious Charley Chase two-reeler is probably, alongside Safety Last, or The General, among the best of American silent comedies; forget the fact that it's only 25 minutes long, it is constantly brilliant, from the sheer simplicity of the construction(Charley decides to pass as an extreme mental patient to escape a marriage arrangement until he realizes the bride is the woman of his dreams)to the clarity of the gags involved, notwithstanding the contribution of Chase as an actor, who is of course so dignified, so dapper at the beginning that he falls deep into his pretense of madness, and seems to really enjoy the trip all along. Add to this the wonderful, brilliant and lovely Martha Sleeper, who was always Chase's equal in the films they made together, the presence of Oliver Hardy in an interesting departure from his usually 'heavy' roles, the impeccable direction by Leo McCarey, and you have a little masterpiece of invention that stands repeated viewings, like most of, say, Laurel and Hardy's masterpieces of the late twenties.


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