Harold Hall, an accident prone young man with little or no acting ability, desperately wants to be in pictures. After a mix-up with his application photograph, he gets an offer to have a ... See full summary »
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After invading a cheese factory, mice Hubie and Bertie have finally had their fill of cheese and figure there's nothing more left to live for. They plan to end it all by surrendering to Claude Cat, who becomes decidedly suspicious.
Harold Hall, an accident prone young man with little or no acting ability, desperately wants to be in pictures. After a mix-up with his application photograph, he gets an offer to have a screen-test, and goes off to Hollywood. At the studio, he does everything wrong and causes all sorts of trouble. But he catches the fancy of a beautiful actress, and eventually the studio owner recognizes him as a comic genius. Written by
John Oswalt <firstname.lastname@example.org>
The final climax of the picture on board of the ship between Harold and Vance was basically reworked from Harold Lloyd's The Kid Brother (1927). The film was also shot with a silent film camera to re-create the Lloyd silent technique and the sound effects and dialogue were recorded in post-production. See more »
As Harold leaves Mary at the Kitterman party, she is sitting on the steps on the patio. As she watches Harold walk off, the shadow of the boom mic can be seen against the wall behind her as it swings over her head. See more »
A MOVIE CRAZY young klutz comes to Hollywood and tries to become a film star in the worst possible way.
Harold Lloyd had a solid success with this, his third talking film. Not only is he still a very funny fellow with outstanding athletic abilities (especially considering that half of his right hand was a prosthetic) but the film itself is remarkable for its feeling of natural realism. It doesn't look or sound like most of its other contemporaries. The dialogue has a true ring to it and much of the acting is perfectly straightforward & unaffected. Much credit must go to the fine work done by the director, writer & cameraman.
The production values are of a very high order, offering glimpses of back lot Paramount Studios as a bonus. Harold's gags are often hilarious and he has some tremendous sequences, creating unintended havoc about the movie lot, attending a fancy dance party while wearing a magician's coat maliciously intent on disgorging its contents, or engaging in a climactic battle with the bad guy around a flooded set.
Constance Cummings, as the actress who captures Harold's heart, gives a remarkably naturalistic performance, sweetly bringing the viewer under her spell. You want Harold to fall for her, even while he only has eyes for her Latin alter ego. Here is a performer who deserves to be rediscovered.
DeWitt Jennings & Lucy Beaumont are enjoyable in their very short opening sequence as Harold's Kansas parents. Kenneth Thomson, as the villain of the film, is effective as the drunken brute who wants Miss Cummings for himself. Spencer Charters is fun as a highly temperamental studio executive. Arthur Housman is on hand playing the patented inebriate he performed so often. And marvelous Louise Closser Hale shines in her only scene as a Hollywood matron who shares a disastrous dance with Harold.
Movie mavens will recognize Noah Young, a familiar face from Harold's silent films, as an upset cop & a hilarious Grady Sutton as a nervous fellow who's terrified of mice--both uncredited.
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