(The Poor Boy (Harold Lloyd) is a bashful tailor's apprent...)
The Poor Boy (Harold Lloyd) is a bashful tailor's apprentice who longs to be a published author. Heading for the city to sell his romantic anthology, he encounters the Rich Girl (Jobyna Ralston) on a train, and he helps her hide her dog from the conductor. Excited about a budding romance, the Poor Boy goes off to a publisher and gets rejected. Disheartened, he gives up on the Rich Girl. However, when the publisher changes his mind, the Poor Boy tries to rekindle the spark of romance.
Relampago (Speedy) - 1928 Non-usa Format: Pal -Import- Spain
(Spanish Release with original audio option. Region 2/B (E...)
Spanish Release with original audio option. Region 2/B (Europe). Menus and Cover are in Spanish. This is a PAL/Region 2 DVD WHICH WILL NOT PLAY ON STANDARD US DVD PLAYER-you need a multi-region PAL/NTSC compatible DVD player to view it.
(GRANDMA'S BOY (1922)
and I DO (1921)
GRANDMA'S BOY starr...)
GRANDMA'S BOY (1922)
and I DO (1921)
GRANDMA'S BOY starring Harold Lloyd, Anna Townsend and Mildred Davis. In this, Harold's first feature film, he is a coward. He's afraid of the bullying rival for Mildred's affections, he's afraid of tramps, he's even afraid of his own shadow. His loving grandmother takes pity on him and tells him the story of his grandfather (also a coward) who became a Civil War hero with the help of a magic charm which she gives to Harold. As long as Harold has the charm he's afraid of nothing! He marches forth to demonstrate his newfound courage in some of the funniest episodes ever seen in silent comedy!
I DO starring Harold Lloyd, Mildred Davis and Noah Young. Harold becomes domesticated after his marriage and is soon seen walking down the street with Mildred pushing a baby carriage...full of bootleg hooch! When his brother-in-law drops off his kids at Harold's house, tranquillity comes to an end. Between his nephew sawing apart his furniture, nailing his shoes to the floor and setting off fireworks in the house, Harold has his hands full. At last, late at night, with the kids finally asleep...there's the burglar!
Original music scores composed and performed by Ben Model!
When sold by Amazon.com, this product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.
(Egyptologist, Dean Lambert (Lloyd), accused of car-theft,...)
Egyptologist, Dean Lambert (Lloyd), accused of car-theft, skips bail and
begins a cross-country trek to join a group in New York headed for Egypt.
With the police close on his trail he gets in and out of scrapes along the
way.
Harold Lloyd - Definitive Collection - 9-DVD Box Set ( Safety Last! / An Eastern Westerner / Girl Shy / The Cat's-Paw / The Milky Way / Why Worry? / Dr. Jack / Feet First / The Kid NON-USA FORMAT, PAL, Reg.2 Import - United Kingdom
(Silent comedy-star Harold Lloyd personally selected his f...)
Silent comedy-star Harold Lloyd personally selected his funniest scenes for this hysterical compilation. Our bespectacled hero always seems to go from one set of troubles to another. Contains classic bits from such gems as "Why Worry?," The Milky Way, "
Harold Clayton Lloyd Sr. was an American actor and screenwriter.
Background
Harold Clayton Lloyd was born on April 20, 1893 in Burchard, Nebraska, United States, the younger son of James Darsie ("Foxy") Lloyd, a sometime salesman and would-be entrepreneur unable to earn a steady living, and Elizabeth Fraser. In his early, ghostwritten autobiography, Lloyd invented an idyllic childhood; but instead of the middle-class boyhood he wished he had had, he moved over fifteen times within the first ten years of his life, his parents quarreled bitterly (they divorced in 1910), and young Harold had to take on a number of jobs just to survive. After his father received $3, 000 as a settlement for injuries received when a brewery truck collided with his sewing-machine van, Lloyd moved with his father to San Diego, California.
Education
He attended high school in San Diego.
Career
Lloyd's first role was a small part as a Yaqui Indian in the production of The Old Monk's Tale with Thomas Edison's motion picture company. In 1912 and 1913 Llloyd appeared in stage adaptions of the Cricket on the Hearth, Dr. Jekyll and Mr. Hyde, and Tess of the D'Urbervilles. When his father's luncheonette-cum-poolroom failed, Lloyd moved to Los Angeles, where, reluctantly, he took work as a movie extra for $5 per day--as a legitimate actor he had disdain for the new medium. In the extras pool at Universal, Lloyd met Hal Roach, who had ambitions to produce and direct his own films. When Roach established his first company, Rolin, in 1915, Lloyd starred in a series of short, rough-and-tumble comedies. Willie Work and Lonesome Luke, the early characters he created, were imitations of Charlie Chaplin; as Luke, Lloyd simply inverted the elements of Chaplin's tramp costume--where Chaplin's clothes were baggy and oversized, Luke's were tight-fitting. Also conforming to period convention, Lloyd sprouted a mustache: two dabs of greasepaint. Like other early comedies, the Lonesome Luke series was improvised on the spot, just before the camera rolled; a location, a character conflict, or a basic situation set in motion a series of slapstick gags. Although the Lonesome Luke persona was successful, Lloyd was embarrassed by its derivative quality.
Lloyd claimed he created the character that changed his life when he saw a dramatic film in which a parson wearing horn-rimmed glasses revealed a heroic streak--Lloyd liked the contrast between the character's mild-mannered appearance and his assertive behavior. Hal Roach, however, insisted that it was he, rather than Lloyd, who discovered the "glasses" character; their conflicting accounts suggest the sparring, competitive nature of their relationship. Roach accused Lloyd of not being funny except when he was given a gag, and Lloyd said Roach was an indifferent, often distracted director who frequently had to come to him for advice. They split in 1923.
Lloyd set up his own independent company. He supervised every element of his films, from initial concept to advertising and distribution. He did not claim or want directorial credit, but he did in fact direct the bulk of each of his films, which are noted for their clean location photography; their terse, vigorous editing; their expert construction of comic routines; and their daring stunts that look remarkably realistic. Lloyd's glasses character, always called Harold, was a more down-to-earth, less exaggerated figure than either Chaplin's tramp or Buster Keaton's Great Stone Face. Lloyd later said that he had wanted to create a character audiences could easily identify with, and he liked to claim that "Harold" offered him greater variety than the personas of the other silent clowns. "Harold, " typically, was either a bumbling young man eager for success or an indolent aristocrat who slips by chance into high adventure. Initially a fool or a coward or a ne'er-do-well, "Harold" proves he has pep, pluck, determination, and resourcefulness, exactly the qualities embraced by the postwar generation as distinctly American.
Unlike Chaplin or Keaton, whose small size made them vulnerable in the world of silent comedy, Lloyd was of average height and had an unremarkable--noncomic--physique. (At the height of his fame in the 1920's, Lloyd without his trademark glasses, was an anonymous American Everyman who went unrecognized in public. ) He seemed to be slightly heavyset for a physical comedian, and unlike Chaplin and Keaton had no training as an acrobat or a mime; nevertheless he spoke a deft and fluent body English. Lloyd's extraordinary agility earned him the label "King of Daredevil Comedy, " which he resented, but perilous-looking stunts provide the comic highlights in most of his work. Scaling tall buildings, dangling from a variety of high places, conducting chases on swerving trucks and buses, weaving across a football field, Lloyd's body was in hyperactive overdrive, receiving and returning blows, falling and then sprinting back into action with magical resilience and balletic grace. But like those of Chaplin and Keaton, Lloyd's physical routines were fused to a carefully developed character; and like that of his contemporaries, though in a more muted way, Lloyd's comedy was edged with pathos. His eyes reflected the wounds of desire and the assaults to his dignity that "Harold" endures.
In Grandma's Boy, Lloyd's first major character comedy (as opposed to the gag comedies of the 1910's), he played a coward who becomes a lion when he is given what he believes is a charmed talisman. In a famous scene, "Harold" eats mothballs thinking they are candy, and keeps up the pretense that he is enjoying himself while covert glances toward the camera reveal how he truly feels. This technique of playing two scenes at once, in which he marks the division between his character's public and private selves, was one of the ways Lloyd, like Chaplin and Keaton, enlisted audience sympathy.
In The Freshman (1925), his masterpiece, "Harold" copies the behavior of heroes in the movies and of the most popular man on campus. He is an outsider who desperately wants to be accepted. As he starts his college career, however, he is beset by mishaps that never let up: during football practice he becomes a live tackling dummy; at a dance his tuxedo comes apart bit by bit, until he is finally exposed in his underwear. But in the finale the hero in him leaps out at last, and he scores a victory. Like the tramp and the Great Stone Face, "Harold" did not need to speak in order to communicate; talking pictures threatened the survival of Lloyd's art.
In Feet First (1930), when Lloyd scales a downtown skyscraper in a reprise of the comic routine from Safety Last, the actor's grunts and groans inject a misplaced realism that undermines the timeless, mythic quality the same action had attained when it was wrapped in glorious silence. Lloyd had a dry voice, gray and featureless, and speaking seemed to freeze or at least to diminish his athleticism. He had many lines in each of his sound pictures, but he did not deliver his dialogue with the flair and rapier timing of comedy newcomers like Cary Grant, Katharine Hepburn, and Carole Lombard.
Playing an assortment of stuffy characters (a preacher's son in The Cat's Paw (1934) and an academic in Professor Beware (1938), for example), Lloyd in the 1930's began to look more and more out of date. His best sound feature, The Milky Way (1936), in which he played a Brooklyn milkman who becomes a champion prizefighter, allowed him to act with his body. With the failure of Professor Beware, Lloyd knew his career as a star was over, and his ego would not allow him to play the supporting roles in other people's films he surely could have gotten.
Briefly, in the early 1940's, he was a producer at RKO. Working with Preston Sturges on The Sin of Harold Diddlebock in 1947, he made a disastrous comeback. With his satiric, sour edge and his dependence on dialogue, Sturges inevitably clashed with Lloyd, and their film was a collision course for their opposing comic styles. The feature had only limited distribution; its producer, Howard Hughes, reedited it, gave it a new title of Mad Wednesday, and rereleased it in 1951, with equally poor results.
For many years the received opinion about Lloyd was that he was a proficient gagster, good for a laugh--an expert technical comedian whose work lacked the emotional and existential quality of Chaplin's or Keaton's. Lloyd also was criticized for being a man of his times whose work did not transcend the boundaries of its original period. Fearing the judgment of posterity, Lloyd withheld his films until the 1960's, when he released two compilation pictures: Harold Lloyd's World of Comedy (1962) and Harold Lloyd's Funny Side of Life (1966). In the decades since then, his reputation has steadily risen. Countering the "mechanical" label that trailed him for years, many critics now praise Lloyd for the warmth and exuberance of his glasses character.
After his retirement, Lloyd continued to be accessible to writers and students, and as an enthusiastic speaker about the old days, he appeared frequently at film festivals and retrospectives. He died in Beverly Hills, California.
Quotations:
"The pain was considerable, but trivial compared with my mental state. ”
Personality
Lloyd had never had close friends. He was a lifelong athlete who never smoked or drank and remained in good physical condition until his death.
Interests
Lloyd had a few hobbies. He experimented with stereo sound systems, collected exotic cars, took stereo photographs.
Connections
Lloyd married his leading lady, Mildred Davis, on February 10, 1923. In 1929, the couple moved into a Beverly Hills mansion, Greenacres, that had been under construction for five years; like Pickfair, the showpiece residence of Mary Pickford and Douglas Fairbanks, Greenacres became a symbol of movie colony splendor. But the Lloyds were not a happy family. Mildred became an alcoholic; their daughters, Gloria, and Peggy, each had two failed marriages; and Harold Jr. , a homosexual and an alcoholic, died only a few months after his father. None of the children could sustain a career in show business.