When the film industry began stepping out of the silent era, and introducing sound into cinema, some stars and filmmakers had an easier time with it than others. Even removed by several decades from that shift in the paradigm the layperson can watch some titles and readily discern that the director, the actors, or both were struggling to figure out how to comport themselves with audio in the equation. Thankfully I don't recognize any such major difficulties in this 1929 feature, Harold Lloyd's first talkie - though by the same token, it feels outright strange and alien to specifically hear Lloyd's voice, or to generally hear most every odd and end that we're also seeing with him involved. In fact, aside from some possible stiltedness in the direction, while the production didn't seem to have any outward trouble in incorporating budding techniques and technology, it strikes me that the endeavor just seems unnecessary. Emphasized by the fact that silent and sound versions were made side by side, as I sit to watch the talkie I tend to see a picture in which the dialogue and audio mostly feel like afterthoughts, components that are not integral to the viewing experience and which could have been discarded altogether with only a few intertitles as a substitute. Maybe that was the real challenge in 'Welcome danger': not to adjust to using new equipment, speaking clearly, and synchronizing sound effects, but to meaningfully make use of methods that were brand new, and that audiences were demanding for their novelty.
To be sure, from the moment we start watching these matters catch our attention; maybe, like Charlie Chaplin, Lloyd could and should have just continued to stick to silent movies for a few years, for after all, his works up to this point were all roundly superb. Even with all this having been said, though, such considerations do not especially take away or distract from what the viewing experience otherwise has to offer. While he didn't have the same star power as some of his contemporaries, there's a reason Lloyd's name gets mentioned alongside the likes of Chaplin, Buster Keaton, and Laurel and Hardy, for he was a reliable comedic genius. We're given plentiful situational humor, gags, physical comedy, and energetic, playful dynamics between characters, with some bits that are downright brilliant. Lloyd's signature "Glasses" character, kind and well-meaning but less than worldly, earns no few laughs even in the earliest minutes - and, to the credit of the filmmakers, there are scattered but increasingly frequent moments throughout when sound cues are used very effectively (even if an alternative approach could have been taken to achieve the same effect without sound). 'Welcome danger' is lighthearted, silly fun, and if in some capacity the employment of audio is imperfect, or makes this feel more common and unremarkable, the sum total ably surpasses any subjective concerns about the transition to talkies. With excellent stunts, effects, props, and sets also feeding into the shenanigans, this is solidly entertaining all around.
There remain some indelicacies, or inelegance, or inclusions that haven't necessarily aged well. Though it can easily be chalked up to the noted circumstances, the audio is imbalanced, with some distinct weak spots. While not necessarily as bad as what some other titles have done, there are some sensibilities here with regards to San Francisco's Chinatown, and its residents and culture, that are a smidgen racist or insensitive, or that reflect outdated notions. (One particular line given to the star, around the 52-minute mark, made me cringe deeply.) On that note, moreover: all of Lloyd's works have boasted a narrative of some strength to carry the day, but they overall remained gentle, mirthful larks; the proportions in which plot and comedy are stirred together here seem a tad off-kilter, with the story increasingly threatening to overshadow the amusement. All these vexations are also reflected in the prominent stature herein of the police ("copaganda"), the contemporary equivalent (preceding even Harry Anslinger) of the misguided "War on Drugs," and even some small details, like fictional Harold's cheeky obsession with fingerprinting (largely trusted but never proven in reality, and even somewhat debunked over time). All this culminates in extreme tonal issues entering and throughout the second half as more serious airs of the drama and crime flick varieties throw off the lightheartedness, and ultimately I can't help but wonder if the runtime of just under two hours (accordingly longer, for the silent version) couldn't have been trimmed in some fair portion.
What it comes down to is that 'Welcome danger' is quite good, but not flawless. It's well made in every regard, from the noted stunts, effects, props, and sets, to costume design, hair, and makeup. I've no notes for the actors, including not just Lloyd but Barbara Kent, Noah Young, Charles B. Middleton, and all others on hand who give vibrant, lively performances; Clyde Bruckman's direction is smart and sharp (save perhaps for the tonal inconsistencies), and the cinematography and editing are unfailingly terrific. The screenplay at large is outstanding, for even if I disagree with some choices, the narrative is firm, the scene writing and characters are flavorful, the dialogue is well considered, and above all, the humor is simply a joy. Still, whatever the creative process was that led to so much and so hefty a plot, the end result feels like the least Harold Lloyd film of any Harold Lloyd film made up to this point, even disregarding the addition of sound. There are strong elements of crime, drama, and even adventure and mystery that adjoin the hilarity, and for as well done as this broadly is, there comes a point where the comedy rather discretely takes a backseat - or, if you will, the most distant row of seats in a large passenger van, if not a bus. There also comes a point, if not multiple points, at which we glance at the digital timer and are a little taken aback by just how much feature remains, with a great deal of story left to be resolved. The film is enjoyable, but it only partly feels like the Lloyd we know, love, and want. Maybe we can say the star wanted to try his hand at something different, which is fine, and commendable; nevertheless, between both Lloyd's presence and the totality of the writing and direction, when all is said and done the picture is a mishmash that doesn't entirely fit together, and that doesn't entirely feel right on a basic level.
Please understand, I do enjoy this. It's a good time, well done, and worth watching on its own merits; much more than not it's a swell credit to all involved. It also feels in no small measure like two screenplays brashly smashed together, careening heavily between decidedly divergent moods. I'm pleased to give 'Welcome danger' my recommendation - but it's a sadly soft recommendation, and it's safe to say that one should highly prioritize Lloyd's silent classics over this first foray into the sound era. Check it out if you have the chance, by all means, but just be aware that in many ways, some more severe than others, it has problems that weigh against it.
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