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The Sin of Harold Diddlebock (1947)

 -  Comedy  -  4 April 1947 (USA)
6.9
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Ratings: 6.9/10 from 946 users  
Reviews: 26 user | 5 critic

Twenty years after his triumphs as a freshman on the football field, Harold is a mild-mannered clerk who dreams about marrying the girl at the desk down the aisle. But losing his job ... See full summary »

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Title: The Sin of Harold Diddlebock (1947)

The Sin of Harold Diddlebock (1947) on IMDb 6.9/10

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Nominated for 1 Golden Globe. Another 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
...
Jimmy Conlin ...
Wormy
Raymond Walburn ...
E.J. Waggleberry
...
Lynn Sargent
Edgar Kennedy ...
Jake (Bartender)
Arline Judge ...
Manicurist
Franklin Pangborn ...
Formfit Franklin
...
Max
...
Flora
Jack Norton ...
James R. Smoke
Robert Dudley ...
Robert McDuffy
Arthur Hoyt ...
J.P. Blackstone
Julius Tannen ...
Nearsighted Banker
Al Bridge ...
Robert Greig ...
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Storyline

Twenty years after his triumphs as a freshman on the football field, Harold is a mild-mannered clerk who dreams about marrying the girl at the desk down the aisle. But losing his job destroys that dream, and when he finds a particularly potent drink at his local bar, he goes on a very strange and funny rampage (with a lion in tow). Written by Kathy Li

Plot Summary | Plot Synopsis

Taglines:

Yes Sir! Wednesday was WILD! Wednesday was RUGGED! THE WILDEST WACKIEST MOST HILARIOUS AND COMPLETELY BOLLIXED-UP DAY YOU EVER HEARD OF! (original print ad - mostly caps)

Genres:

Comedy

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

4 April 1947 (USA)  »

Also Known As:

Mad Wednesday  »

Box Office

Budget:

$1,712,959 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (1950 re-release) | (2005 DVD release)

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The failure of the original copyright holder to renew the film's copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a VHS/DVD copy of the film. Therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and/or of extremely poor quality, having been duped from second- or third-generation (or more) copies of the film. See more »

Goofs

When Diddlebock reaches for Jacky's lead with his foot and knocks it over the edge, Jacky is standing up close to the wall. The next shot immediately after shows Jacky sitting down. See more »

Quotes

Harold Diddlebock: As soon as I have a minute, I'll thank you for hours.
See more »

Connections

Referenced in Hollywood Mouth 2 (2014) See more »

Soundtracks

Auld Lang Syne
(uncredited)
Traditional
Sung in the tailor shop
See more »

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User Reviews

The last laugh
3 April 2001 | by (Minneapolis Minnesota) – See all my reviews

The last laugh of any great clown is interesting, if only for its memento mori value. Laurel & Hardy's last film, UTOPIA, is sadly botched but moments of their grand comedy still flair up, like Marc Antony's final bravery in Shakespeare's Antony & Cleopatra. The grandiose W.C. Fields still holds his own in SONG OF THE OPEN ROAD, even though he was deathly ill with alcohol poisoning. The Marx Brother's LOVE HAPPY is mainly a vehicle for one last pantomime fling for brother Harpo -- and all the more poignant for it. Chaplin's KING IN NEW YORK is a splendid idea -- we chuckle at its conception -- though Chaplin conducts himself like a department store floorwalker more than a comedian. And Harold Lloyd's last movie seems to me to be a nostalgic conspiracy between him and director Sturges, a Last Hurrah to remind movie audiences one last time of the glorious slapstick & pantomime heritage that America was in the process of losing forever as the old clowns faded from the scene and brash lunatics like Martin & Lewis or Bob Hope took over the reins of comedy. Lloyd's film exists in several differently edited versions, but I won't call any of them "butchered", just misunderstood. By the late Forties there weren't any skilled editors around who could quite understand the cadence, the beat, the nearly-balletic timing that a great clown brought to the camera and needed the editor to highlight -- such things as double-takes, long shots of the chase and just stationary shooting when the clown is unfolding a gag. Lloyd produced a novel, a War & Peace, if you will, of vintage gags -- his editors only understood short stories or magazine articles. They grew nervous when the camera lingered on anybody or anything. But great comedy is just that -- lingering. In his final film Lloyd wants to loiter over gags silly and profound. His dawdling is cut short and the truncated comedy that follows seems at times stiff and childish. But before Harold is relegated to the dusty shadows he still pulls off much nonsense that is both genial and brassy -- not a coming attraction, but a dignified retreat back to the Land of Belly Laughs. Anyone grounded in American cinematic comedy feels abit like one of the children in the story of the Pied Piper; we wish we could go with him back into that wonderful, magical, mountain.


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