IMDb > The Sin of Harold Diddlebock (1947)
The Sin of Harold Diddlebock
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The Sin of Harold Diddlebock (1947) More at IMDbPro »

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The Sin of Harold Diddlebock -- 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...


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Preston Sturges (original screenplay)
View company contact information for The Sin of Harold Diddlebock on IMDbPro.
Release Date:
4 April 1947 (USA) See more »
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) See more »
Twenty years after his triumphs as a freshman on the football field, Harold is a mild-mannered clerk... See more » | Full synopsis »
Plot Keywords:
Nominated for Golden Globe. Another 1 nomination See more »
User Reviews:
The last laugh See more (31 total) »


  (in credits order) (verified as complete)

Harold Lloyd ... Harold Diddlebock
Jimmy Conlin ... Wormy

Raymond Walburn ... E.J. Waggleberry

Rudy Vallee ... Lynn Sargent

Edgar Kennedy ... Jake (Bartender)

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

Georgia Caine ... Bearded Lady

Torben Meyer ... Barber with Mustache

Victor Potel ... Prof. Potelle (as Vic Potel)
Jackie the Lion ... Jackie the Lion
Frances Ramsden ... Frances Otis
rest of cast listed alphabetically:

Chet Brandenburg ... Football Fan (uncredited)

Tex Cooper ... Man in Finale (uncredited)

Dot Farley ... Smoke's Secretary (uncredited)

Franklyn Farnum ... Man Who Bumps Harold (uncredited)
Gladys Forrest ... Snake Charmer (uncredited)

Pat Harmon ... Football Coach (edited from 'The Freshman') (archive footage) (uncredited)
Ida Kitaeva ... Woman (uncredited)
Ethelreda Leopold ... Blonde (uncredited)

J. Farrell MacDonald ... Desk Sergeant (uncredited)
Wilbur Mack ... Football Rooter (uncredited)

Mathew McCue ... Football Fan (uncredited)

Tom McGuire ... Police Captain (uncredited)
Charles R. Moore ... Bootblack (uncredited)

Frank Moran ... Mike the Cop (uncredited)
Bob Reeves ... Ringling Bros Representive (uncredited)

Dewey Robinson ... Lucky Leopold (uncredited)
Harry Rosenthal ... Reveler (uncredited)

Angelo Rossitto ... Midget (uncredited)

Max Wagner ... Doorman (uncredited)

Directed by
Preston Sturges 
Writing credits
Preston Sturges (original screenplay)

Produced by
Howard Hughes .... producer (uncredited)
Preston Sturges .... producer (uncredited)
Original Music by
Werner R. Heymann 
Cinematography by
Robert Pittack (photography)
Film Editing by
Stuart Gilmore (re-issue)
Thomas Neff 
Art Direction by
Robert Usher 
Set Decoration by
Victor A. Gangelin 
Makeup Department
Ted Larsen .... makeup artist
Elaine Ramsey .... hair stylist
Robert Paris .... makeup artist: Mr. Lloyd (uncredited)
Wally Westmore .... makeup artist: Mr. Lloyd (uncredited)
Production Management
Cliff P. Broughton .... production manager (as Cliff Broughton)
Second Unit Director or Assistant Director
Barton Adams .... assistant director (uncredited)
Sound Department
Fred Lau .... sound
Special Effects by
John P. Fulton .... special effects (as John Fulton)
Music Department
Sidney Cutner .... orchestrator (uncredited)
Harry Rosenthal .... composer: love theme (uncredited)
Leo Shuken .... orchestrator (uncredited)
Other crew
Curt Courant .... technical director (as Curtis Courant)
Jerry Fairbanks .... talking horse process (76 minute version) (uncredited)
Mel Koontz .... lion trainer (uncredited)
Robert T. Saxton .... unit publicist (uncredited)
Harold Lloyd .... grateful acknowledgement: for his permission to use part of "The Freshman"
Robert Paris .... grateful acknowledgement: for his able assistance to Mr. Lloyd in the creation of the role of Harold Diddlebock
Wally Westmore .... grateful acknowledgement: for his able assistance to Mr. Lloyd in the creation of the role of Harold Diddlebock
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Mad Wednesday" - USA (reissue title)
See more »
89 min | USA:76 min (1950 re-release) | USA:90 min (2005 DVD release)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)
Australia:PG | Canada:G (Ontario) | Finland:S | Sweden:Btl | UK:U | USA:Approved (PCA #11970, General Audience) | West Germany:12 (nf)

Did You Know?

Last appearance of Harold Lloyd in a film.See more »
Continuity: When Diddlebock reaches for Jackie's lead with his foot and knocks it over the edge, Jackie is standing up close to the wall. The next shot immediately after shows Jackie sitting down.See more »
Harold Diddlebock:When the iron is hot, strike! Obey that impulse!See more »
Movie Connections:
Hungarian Rhapsody No. 2See more »


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50 out of 56 people found the following review useful.
The last laugh, 3 April 2001
Author: ( from Minneapolis Minnesota

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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