During a rain storm that follows a snow storm, Nancy comes to the train station to tell stationmaster Kennedy that he's needed at home to see his new twin infants. She promises Kennedy that Harry, her beau, will manage things just fine. Kennedy is dubious but reels off instructions and leaves. Harry's clueless. When a trainload of cabaret performers disembarks for a layover, Harry joins a rehearsing chorus line; Nancy sees him with these immoral women, so she declares she'll never speak to him again. While he cries in his lunch, she puts her morals and her skirt aside to join the rehearsal. When the train pulls away, will she leave Harry in the lurch? Written by
Harry Langdon brought his silent screen personae intact to the Roach studio for the 8 talkie shorts he made there. What he added was a rambling, incoherent style of speaking that constantly muddles his every thought. When Edgar Kennedy instructs Harry on the intricacies of running the train station we know that as Harry nods and listens that not a word is comprehending his brain. Throughout the rest of the short whenever anyone asks him anything he replies with a jumbled response to what Kennedy had told him earlier.
The unrelenting rain and darkness of THE HEAD GUY creates a perfect atmosphere to showcase Langdon's otherworldly character. While passengers scamper out of the downpour into the refuge of the station house Harry continually wanders in and out of the rain barely noticing any discomfort. When inside he is still treated as a cipher. A dance troop practices while Harry crawls on the floor practically underneath them and no one notices. There is a charming moment when Harry joins the dance line and reveals his vaudeville training but it is all too brief. And once again Harry attempts to pull a gun on someone and has the same amount of success with it as when he tried it in LONG PANTS (27).
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