Category Archives: 1920

Get Out and Get Under (1920, Hal Roach)

Like a lot of silent shorts, Get Out and Get Under has three distinct phases. The first phase involves Harold Lloyd as a suitor for Mildred Davis. He’s got to race to stop her wedding. This phase sets a certain expectation for Get Out‘s pace; the rest of the short doesn’t live up to it.

Instead, the second phase is this incredibly laid back comedy of inconvenience. It’s not errors, just little things adding up. There are some good laughs in this section (the best laughs in the short), but it also establishes Lloyd’s character as a callous dimwit. Lloyd’s still likable because he’s Lloyd but there’s nothing to the character.

The third section is a lengthy chase involving Lloyd and some motorcycle cops. Again, it’s boring. The most compelling moment is when the cops think their shooting him for speeding.

Get Out isn’t bad, it’s just wholly uninspired filmmaking.

1/3Not Recommended

CREDITS

Produced and directed by Hal Roach; titles by H.M. Walker; director of photography, Walter Lundin; released by Pathé Exchange.

Starring Harold Lloyd (The Boy), Mildred Davis (The Girl) and Fred McPherson (The Rival).


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Number, Please? (1920, Fred C. Newmeyer and Hal Roach)

Number, Please? is split into three very different parts. First, Harold Lloyd is trying to win back his ex-girlfriend (Mildred Davis), who’s just an awful human being, from her current beau, played by Roy Brooks. The men have to find her missing dog. This section isn’t much fun as there are constant reminders Davis isn’t exactly a prize.

Second is a lengthy sequence where Lloyd tries to make a telephone call. While it’s interesting as evidence of how phones worked in 1920, the sequence relies entirely on people being mean or lazy. The jokes are genial, but uninspired.

The third section, however, is wonderful slapstick. Lloyd is running around the Venice Beach amusement park trying to get rid of a hot purse. It’s great use of locations, but also fantastic physical gags.

Lloyd’s great throughout and directors Roach and Newmeyer have some startling good moments.

Overall, Number is successful.

2/3Recommended

CREDITS

Directed by Fred C. Newmeyer and Hal Roach; titles by H.M. Walker; director of photography, Walter Lundin; produced by Roach; released by Pathé Exchange.

Starring Harold Lloyd (The Boy), Mildred Davis (The Girl) and Roy Brooks (The Rival).


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High and Dizzy (1920, Hal Roach)

Sometimes low concept is the best concept. High and Dizzy concerns a drunken Harold Lloyd and his adventures about town with his sidekick, played by Roy Brooks. Lloyd and Brooks get into all sorts of trouble, some predictable, some not, and it just makes for a pleasant comedy.

It helps, of course, Lloyd can be acrobatic–whether he’s scaling a building or just hopping over a desk–because it maintains the action quotient.

Dizzy‘s not just about a drunken Lloyd, however. It’s about a failing new doctor drunken Lloyd who’s in love with a patient. The short’s structure is, though contrived, rather nice. At the beginning, a sober Lloyd falls for Mildred Davis. He falls so hard, he doesn’t even get her diagnosis, which comes back as a plot point later.

Roach, as usual, competently directs without being interesting.

The finale’s a little forced, but Dizzy‘s already succeeded.

2/3Recommended

CREDITS

Produced and directed by Hal Roach; written by Frank Terry; director of photography, Walter Lundin; released by Pathé Exchange.

Starring Harold Lloyd (The Boy), Roy Brooks (His Friend), Mildred Davis (The Girl) and Wallace Howe (Her Father).


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Haunted Spooks (1920, Hal Roach and Alfred J. Goulding)

Haunted Spooks is a disjointed experience. It starts well enough, with unmarried Mildred Davis inheriting a mansion… so long as she’s married. Her lawyer promises to get her a husband, which the title cards have already revealed will be Harold Lloyd.

Then Haunted takes its time bringing the two together. Instead, Lloyd’s current love interest picks another man–after a lengthy sequence where he’s trying to beat still another suitor to ask her father’s blessing–and Lloyd decides to kill himself. Then there are multiple suicide attempts; they’re often funny, but Haunted‘s not exactly an upper.

Finally Davis and Lloyd get together and head to the mansion. Except her evil uncle has convinced the servants the mansion is haunted. They panic. Their panic panics Davis and Lloyd.

The haunting stuff flops and the opening’s only marginally better.

Lloyd’s excellent, but Haunted‘s most compelling feature is the beautifully illustrated title cards.

1/3Not Recommended

CREDITS

Directed by Hal Roach and Alfred J. Goulding; titles by H.M. Walker; director of photography, Walter Lundin; produced by Roach; released by Pathé Exchange.

Starring Harold Lloyd (The Boy), Mildred Davis (The Girl), Wallace Howe (The Uncle), William Gillespie (The Lawyer), Marie Mosquini (The Other Girl) and Blue Washington (The Butler).


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