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,
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 »
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
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 »
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 <email@example.com>
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 »
In many of the dubbed scenes, the voices are out of synchronization with the actors' lip movements. See more »
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 »
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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