The Sin of Harold Diddlebock (1947)

User Rating:

6.4/10   

Director:

Preston Sturges

Writer:

Preston Sturges (writer)

Release Date:

4 April 1947 (USA)

Genre:

Comedy

Tagline:

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)

Plot:

Twenty years after his triumphs as a freshman on the football field, Harold is a mild-mannered clerk...

Plot Keywords:

Writer Director | Sequel | Actor Shares First Name With Character | Character Name In Title

Awards:

Nominated for Golden Globe. Another 1 nomination

Cast

Harold Lloyd	...	Harold Diddlebock
Jimmy Conlin	...	Wormy
Raymond Walburn	...	E.J. Waggleberry
Rudy Vallee	...	Lynn Sargent
Edgar Kennedy	...	Jake
Arline Judge	...	Manicurist
Franklin Pangborn	...	Formfit Franklin
Lionel Stander	...	Max
Margaret Hamilton	...	Flora
Jack Norton	...	James R. Smoke
Robert Dudley	...	Robert McDuffy
Arthur Hoyt	...	J.P. Blackstone
Julius Tannen	...	Nearsighted Banker
Al Bridge	...	Wild Bill Hickock
Robert Greig	...	Algernon McNiff

Also Known As:

Mad Wednesday (USA) (reissue title)

Runtime:

89 min | USA:76 min (1950 re-release) | USA:90 min (2005 DVD release)

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Sound System)

Certification:

Canada:G (Ontario) | Finland:S | USA:Approved (PCA #11970, General Audience) | UK:U

Filming Locations:

Samuel Goldwyn/Warner Hollywood Studios - 1041 N. Formosa Avenue, Hollywood, Los Angeles, California, USA

Company:

California Pictures

Trivia:

It was Howard Hughes, Preston Sturges' partner in California Pictures Corporation, who re-cut the film and retitled it "Mad Wednesday" - not Columbia Pictures chief Harry Cohn, as has long been believed.

Quotes:

Jake: [when asked to prepare Harold's very first alcoholic beverage] You arouse the artist in me.

Movie Connections:

Follows The Freshman (1925)

Soundtrack:

Hungarian Rhapsody No. 2

The last laugh

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.