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Welcome Danger (1929)

Passed | | Comedy | 12 October 1929 (USA)
Harold Bledsoe, a botany student, is called back home to San Francisco, where his late father had been police chief, to help investigate a crime wave in Chinatown.

Directors:

Clyde Bruckman, Malcolm St. Clair (uncredited)

Writers:

Paul Gerard Smith (dialogue), Felix Adler (story) | 2 more credits »
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Cast

Complete credited cast:
Harold Lloyd ... Harold Bledsoe
Barbara Kent ... Billie Lee
Noah Young Noah Young ... Officer Patrick Clancy
Charles Middleton ... John Thorne aka The Dragon (as Chas. Middleton)
Will Walling ... Police Captain Walton (as William Walling)
Rest of cast listed alphabetically:
Grady Sutton ... Man at Party (silent version) (scenes deleted)
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Storyline

Harold Bledsoe, a botany student, is called back home to San Francisco, where his late father had been police chief, to help investigate a crime wave in Chinatown. Written by Herman Seifer <alagain@aol.com>

Plot Summary | Add Synopsis

Taglines:

HEAR the smile that makes millions laugh! (Print Ad- Nashua Telegraph, ((Nashua, NH)) 4 November 1929) See more »

Genres:

Comedy

Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English | Cantonese | German

Release Date:

12 October 1929 (USA) See more »

Also Known As:

Achtung, Harold, Achtung! See more »

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Box Office

Budget:

$979,828 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric System)

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

Clyde Bruckman's solution for reworking the film as a talkie was to eliminate half the silent version and re-shoot it as a talkie. The remaining half of the picture would be dubbed - - a cumbersome experience that Lloyd found difficult to accomplish. The result was awkward and it's easy to spot the dubbed scenes in the film (most apparent in the Chinatown sequence Lloyd shares with Noah Young as Officer Clancy). It's readily apparent that Young was especially poor at looping his own voice. The problem of the speaking actors locked in place under an immobile microphone in some of the freshly shot sound sequences is also painfully apparent. See more »

Goofs

In many of the dubbed scenes, the voices are out of synchronization with the actors' lip movements. See more »

Quotes

Harold Bledsoe: Here, useless, exert yourself.
See more »

Alternate Versions

There is an all-silent version of this film distributed to unwired cinemas which includes more of the original "silent" version and is adapted with inter-titles for the newer sound sequences. See more »

Connections

Featured in American Masters: Harold Lloyd: The Third Genius (1989) See more »

Soundtracks

Funeral March of a Marionette
(1872) (uncredited)
Composed by Charles Gounod
See more »

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User Reviews

A MAJOR DISAPPOINTMENT
13 November 2001 | by bensonjSee all my reviews

This film was started as a silent and finished as a sound film. One would expect, then, to see some classic Lloyd "silent" comedy sequences, but this is a very disappointing and largely unfunny film. Lloyd's hallmark was always fresh, original, well-worked-out visual gags, but the poorly timed shenanigans here often remind one of something below the Three Stooges: the Bowery Boys, maybe. In virtually every other Lloyd film, regardless of whether he was shy, cocky, a success or a bumbler, his character was always inventive, thinking up ingenious solutions to the problems he found himself in. In this film, much of the humor is based on his simple stupidity. There are endless really primitive early action gags: one character gets the bad guys to chase him while the another stands behind a large crate and bats them on the head as they go by; a character takes a swing with a club to hit someone in front of him and accidentally hits someone creeping up behind him; a friend puts his hand on Lloyd's shoulder so he won't get lost in the dark, but when Lloyd gets back into the light the hand on his shoulder is that of a foe. These and other familiar lightweight gags abound, and the Lloyd's imaginative building of original gags is nowhere to be seen. In addition, nearly identical weak gags are sometimes repeated several times in a row. The bumbling around in a chinatown basement just seems interminable.

What happened? Lloyd's films before and after this one are all classics of top-notch comedy. This is a lapse that's unique in Lloyd's career.


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