Timid milkman, Burleigh Sullivan (Lloyd), somehow knocks out a boxing champ in a brawl. The fighter's manager decides to build up the milkman's reputation in a series of fixed fights and ... See full summary »
Episodic look at married life and in-law problems. Adventures include a ride on a crowded trolley with a live turkey; a wild spin in a new auto with the in-laws in tow; and a sequence in ... See full summary »
Fred C. Newmeyer,
The young couple have decided to marry and it is time to ask the father for the hand of his daughter. Problem is, the father does not want to give the daughter away. So every time he goes ... See full summary »
Our hero (Lloyd) is infatuated with a girl in the next office. In order to drum up business for her boss, an osteopath, he gets an actor friend to pretend injuries that the doctor "cures", ... See full summary »
Country Doctor, Jack Jackson is called in to treat the Sick-Little-Well-Girl, who has been making Dr. Saulsbourg and is sanitarium very rich, after years of unsuccessful treatment. His ... See full summary »
Fred C. Newmeyer,
John T. Prince
Naive Ezekial Cobb, brought up by his missionary father in China returns to America to seek a wife. Corrupt politicians enlist him to run for mayor as a dummy candidate with no chance of winning. Their plan backfires as he wins and embarks upon a reform crusade.Written by
Herman Seifer <firstname.lastname@example.org>
The delay that followed Harold Lloyd's last picture Movie Crazy (1932) was partly due to the fact that he could find no suitable story. He bought The Cat's Paw when Author Clarence Budington Kelland had finished only the first chapter, offered suggestions to make the part more to his taste. When the story was finished Lloyd was amazed to find that none of the antics which his private staff of "gagmen" usually arrange for him seemed to fit the plot. He finally accepted the advice of his director, Sam Taylor, to make the picture without his customary comedy inventions. See more »
This generally enjoyable comedy is unusually satirical for a Harold Lloyd feature, but as long as you don't take it too seriously, it has some very amusing moments. Lloyd's character lets him combine elements of his familiar silent-screen roles plus dialogue and other material that take advantage of the relatively new sound technology. Una Merkel also helps out as a sarcastic young woman who takes an interest in Lloyd's character.
The prologue is a little lengthy, but it works in establishing a positive view of the Chinese culture in which Lloyd's character was raised and which determines his personality, so it serves a purpose. The main part of the movie has Lloyd as Ezekiel, a missionary's son, coming back to the USA and innocently contending against the rampant corruption in the local government and the distorted values of society. Much of it is amusing in a low-key fashion, but eventually it also builds up the tension between Ezekiel and the local political machine.
You always hope for something big in the finale in a Lloyd movie. Here the finale is creative, taking advantage of the possibilities in the story, and making use of sound in addition to the many visual effects. Though slower and not filled with slapstick the way that his great silent film finales were, it caps things off suitably enough.
Like most of Lloyd's sound features, this one doesn't come up to the level of his silent classics. But it does give him a good character to work with, and it is often rather funny as long as you don't read too much into the story and characters.
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