HAROLD LLOYD LIBRARY

AMONG THOSE PRESENT (1921)

Director: Fred C. Newmeyer

An ambitious coat-room checker impersonates an English nobleman.

ASK FATHER (1919)

Director: Hal Roach

A man desperately tries to ask his girlfriend's billionaire father for his daughter's hand in marriage.

BILLY BLAZES, ESQ. (1919)

Director: Hal Roach

A riotous western short.

BUMPING INTO BROADWAY (1919)

Director: Hal Roach

Harold Lloyd as a lovelorn playwright.

THE CAT'S PAW (1934)

Director: Sam Taylor

Born to an American missionary in China, Harold comes back to the USA as a total innocent and finds himself accidentally involved in a ferocious war between local Chinese tongs. The town politicians see him a perfect tool and he is persuaded to run for Mayor. They think he will be putty in their hands but, in a complete turnaround at the end, he proves to be quite the contrary.

DR. JACK (1922)

Director: Fred Newmeyer

Harold plays Dr. Jackson (Dr. Jack for short), a small-town doctor who is a friend to everyone and eager to help. He approaches the healing of his patients through psychology and the nontraditional means of joy and excitement rather than medicine. Dr. Jack comes to the rescue of the Sick-Little-Well-Girl (Mildred Davis) who is deliberately coddled by her quack doctor (Eric Mayne).

AN EASTERN WESTERNER (1920)

Director: Hal Roach

A classic Lloyd short from 1920. Blase eastern boy is shipped off to a ranch in the 'wild west ' by his father.

FEET FIRST (1930)

Director: Clyde Bruckman

Harold plays Harold Horne, an ambitious Honolulu shoe clerk determined to make his way into the ranks of high society. He becomes a stowaway aboard a ship while masquerading as a successful businessman, and manages to be accidentally flown to shore by seaplane while hiding in a mailbag.

FOR HEAVEN’S SAKE (1926)

Director: Sam Taylor

Lloyd plays J. Harold Manners, a millionaire playboy who inadvertently contributes to a skid row mission (which is then named in his honor). He meets and falls in love with Hope, the mission pastor's daughter, when he visits the mission to protest his name being used. Under her influence, Manners makes parishioners out of all the seedy characters and tough men of the neighborhood. When his idle club friends abduct him on his wedding day (believing they are preventing him from making a foolish mistake), Harold must race back to the mission so as not to miss his own wedding.

THE FRESHMAN (1925)

Director: Sam Taylor, Fred C. Newmeyer

Harold Lloyd's most popular comedy is arguably his funniest film. It was also his most commercially successful silent comedy feature. Harold plays college freshman Harold Lamb who longs to be the Big Man on Campus. His metamorphous from college zero to college hero in the climactic football game is one of the high points of silent film comedy.

FROM HAND TO MOUTH (1919)

Director: Alfred J. Goulding, Hal Roach

Harold Lloyd's most popular comedy is arguably his funniest film. It was also his most commercially successful silent comedy feature. Harold plays college freshman Harold Lamb who longs to be the Big Man on Campus. His metamorphous from college zero to college hero in the climactic football game is one of the high points of silent film comedy.

GET OUT AND GET UNDER (1920)

Director: Hal Roach

A hilarious two-reeler about a man with a new Model T Ford.

GIRL SHY (1924)

Director: Fred Newmeyer, Sam Taylor

Harold is a shy tailor's apprentice who has a pronounced stutter and is afraid of girls. He spends his lonely evenings writing a book called The Secret of Love Making until he is galvanised into action when he discovers that the girl he loves (Jobyna Ralston) is about to marry a bigamist. What follows is arguably the greatest race-to-the-rescue sequence of the entire silent cinema. The film's ending was the inspiration for Mike Nichol's The Graduate (1967) over forty years later. One of Lloyd's most influential and important films.

GRANDMA'S BOY (1922)

Director:Fred Newmeyer

Harold is a cowardly young man who runs to his grandmother (Anna Townsend) out of fear when he is asked to participate in the manhunt for a tramp (Dick Sutherland) who has killed a man. The boy finds the courage only after his wise granny gives him a magic talisman that she tells him had helped his equally timid grandfather become a hero in the Civil War. Only after Harold single-handedly captures the killer does his grandmother tell him the truth—the talisman was a fake, nothing more than an old umbrella handle. Harold always had the courage inside him; he just had to find it for himself—a classic Lloyd lesson. The film ends with Harold ridding himself of a bully (Charles Stevenson) and proposing to his girl (Mildred Davis). The film's brilliantly integrated plot and gags made Grandma's Boy one of the most influential of silent feature-length comedies. Upon its release Charlie Chaplin called it “one of the best-constructed screenplays I have ever seen” and elements of the film can be seen in Buster Keaton's masterpiece, The General (1926).

HAROLD LLOYD'S FUNNY SIDE OF LIFE (1963)

Director: Harry Kerwin

A compilation of clips selected by Harold Lloyd that highlight his career.

HAROLD LLOYD'S WORLD OF COMEDY (1962)

Director: Harold Lloyd

A 1962 American documentary compilation of scenes from Harold Lloyd's best known films. The clips were personally selected by Lloyd, who also wrote the voiceover narration.[1][2] The film marked the return of Lloyd to cinemas after an absence of more than two decades, and it included extended excerpts from the classics Safety Last! and Feet First which hadn't been publicly screened during the previous three decades.

HAUNTED SPOOKS (1920)

Director: Alfred J. Goulding, Hal Roach

After numerous failed attempts to commit suicide, our hero (Lloyd) runs into a lawyer who is looking for a stooge to stand in as a groom in order to secure an inheritance for his client (Davis). The inheritance is a house, which her scheming uncle "haunts" so that he can scare them off and claim the property.

HIGH AND DIZZY (1920)

Director: Hal Roach

A tipsy doctor encounters his patient sleepwalking on a building ledge, high above the street.

HOT WATER (1924)

Director: Sam Taylor, Fred Newmeyer

A hilarious domestic-life comedy begins with Harold with an armful of packages and a live turkey on a streetcar, followed by a disastrous spin in his new car with his in-laws, and ending with haunted house-type thrills provoked by his mother-in-law (Josephine Crowell).

I DO (1921)

Director: Hal Roach

Two newly-weds bay-sit an unruly nephew - with hilarious consequences.

I DO (1921)

Director: Hal Roach

Two newly-weds bay-sit an unruly nephew - with hilarious consequences.

JUST NUTS (1915)

Director: Hal Roach

Released on April 19, Just Nuts is Harold Lloyd's oldest surviving film and the only remaining example of his earliest screen persona, Willie Work. Just Nuts is a one reel blitz of slapstick romance and Willie is the "poor misguided nut" at the centre of it all: chasing an unattainable girl, meeting stiff competition from other suitors and encountering trouble at every turn. Appearing in an overcoat and old top hat, and sporting a pencil-line moustache, Lloyd's first comic creation owed a clear debt to Chaplin - but this performance is now remembered as the moment when a new legend of silent comedy emerged. The playfully named character posed a question and a challenge - will he work or won't he? 100 years later, the answer is clear: Just Nuts was the beginning of a prolific and popular career that made Harold Lloyd one of the biggest film stars of the era and secured his place in the medium's history.

THE KID BROTHER (1927)

Director: Ted Wilde, J.A.Howe

The Kid Brother is Harold Lloyd's masterpiece and Lloyd's favourite of all his films. Harold is a country boy who is the “Cinderella” of the Hickory family. Shy and bespectacled, his wit and ingenuity are not appreciated by his physically robust but none-too-bright father and brothers. When Mary arrives with the traveling road show, Harold needs all his quick wits and courage to defeat the villains, win the girl of his dreams and finally gain his father's approval.

LUKE'S MOVIE MUDDLE (1916)

Director: Hal Roach

This comedy pokes fun at early moviemaking. This was the first film that Bebe Daniels teamed up with Harold Lloyd.

THE MILKY WAY (1936)

Director: : Leo McCarey

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 then have the champ beat him to regain his title.

MOVIE CRAZY (1932)

Director: : Clyde Bruckman

Harold Lloyd's best sound film has him portraying Harold Hill, a small-town Kansas rube who dreams of making it in the movies. Upon his arrival in Hollywood, Harold manages to wreak havoc as soon as he steps off the train. He falls in love with a beautiful Spanish actress, failing to recognize that she is the same young woman, without makeup and wig, who later gives him a ride home in the rain. Mary Sears (Constance Cummings) keeps the two identities concealed from Harold and has him play the fool. Harold the lamb turns into Harold the lion in the film's elaborate fight sequence on the set of a flooding boat in the film's memorable climax. The film is also notable for the comedy sequence of Harold unknowingly wearing a magician's coat at a formal dinner party, causing chaos with the small creatures that emerge from his jacket sleeves.

NEVER WEAKEN (1921)

Director: : Fred C. Newmeyer

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", thereby building a reputation. When he hears that his girl is marrying another, he decides to commit suicide and spends the bulk of the film in thrilling, failed attempts.

NOW OR NEVER (1921)

Director: : Fred C. Newmeyer, Hal Roach

A young man, unaccustomed to children, must accompany a young girl on a train trip.

NUMBER, PLEASE? (1920)

Director: : Fred C. Newmeyer, Hal Roach

While at an amusement park, trying vainly to forget the girl he has lost, a young man (Lloyd) sees the girl (Mildred Davis) with her new boyfriend (Roy Brooks). When her dog gets loose in the park, both suitors have to help her catch it. The girl's uncle, a balloonist, gives her a pass for two in his balloon, provided that her mother approves. She then offers to take along the first of her admirers who is able to get her mother's consent. The girl's new boyfriend races to her house to get the mother's permission, while the young man tries to telephone her. The young man faces crowded phone booths, gossiping operators, a crying baby and other obstacles in his effort to reach the mother first. Racing back to the girl, the two suitors bump into one another and a pickpocket who has just robbed the girl of her purse. The boy is mistaken for the pickpocket and must elude various policemen on his way back to meet the girl.

SAFETY LAST! (1923)

Director: : Fred Newmeyer, Sam Taylor

A simple, small-town optimist moves to the big city with hopes of establishing himself enough to send for his sweetheart and marrying her. After taking a job as a sales clerk in a department store, he starts sending his girlfriend expensive presents to convince her that he's made it. When she shows up in town, he pretends to be the general manager and must carry out a dangerous publicity stunt to earn enough money to keep his ruse going. Restoration by Janus Films, Criterion and Harold Lloyd Entertainment. The film features a new score from Carl Davis.

A SAILOR-MADE MAN (1921)

Director: : Fred C. Newmeyer

Harold is introduced as “The Boy—Idle heir to twenty millions—And a nerve that would blunt the edge on forked lightning.” At the country club, he gets the attention of a popular girl (Mildred Davis) by saying, “It's too hot to play croquet; let's get married.” When she tells Harold he must first ask her father, the father tells Harold that he will not allow her to marry him until he makes something of himself; so Harold joins the navy in order to impress the girl and her father. Stationed in the fictitious kingdom of Khairpura-Bhandanna, he rescues Davis (whose yacht has also arrived there) from the villainous maharajah (Dick Sutherland) and his army of sword-wielding warriors in the film's frantic climax. Safely back aboard their respective ship and yacht, Harold proposes to his girl using semaphore, and she accepts. Originally intended as a two-reel comedy short, A Sailor-Made Man proved popular in previews in a four-reel rough cut and became Lloyd's unintentional first feature-length film.

SPEEDY (1928)

Director: : Ted Wilde

Speedy, Lloyd's last silent film, is a superb valedictory to the silent era. “Speedy” was Harold's real-life nickname (given to him by his father) and the film is appropriately fast-paced. Lloyd plays Harold “Speedy” Swift, a baseball-crazy young man who cannot hold a job. His employment misadventures include work as a soda jerk and a cab driver. Harold's girlfriend, Jane, lives with her grandfather, “Pop” Dillon, who owns New York City's last horse-drawn streetcar. A gang hired by a railroad monopoly steals the horse and streetcar. By stopping Pop's streetcar from operating more than twenty-four hours, the rail monopoly hopes to steal away his franchise. Speedy ultimately finds the car and manages to get it back on track in time to make the daily run, saving Pop's franchise. Filmed partly on location in New York, the film features a memorable cameo from baseball legend Babe Ruth and a wild chase scene in downtown Manhattan, where Harold must hurtle the horse-drawn streetcar pell-mell through chaotic city traffic.

WELCOME DANGER (1929)

Director: : Clyde Bruckman

Lloyd plays botanist Harold Bledsoe, who is summoned to San Francisco where his late father had once been chief of police. His father's colleagues desperately hope he is a chip off the old block and take the extreme measure of making him police chief to thwart the flourishing crime of the Chinatown underground led by the Dragon (Charles Middleton). Despite his lack of experience, as well as botanical and female (Barbara Kent) distractions, Harold nevertheless corners the Dragon and forces him to confess his crimes in front of the entire police force. Harold's first sound motion picture was also his greatest commercial success. However, Lloyd was uneasy about the quality of the film in later years; he believed that the film—at 12 reels—was far too long for a comedy.

WHY WORRY? (1923)

Director: : Fred Newmeyer, Sam Taylor

Harold plays wealthy hypochondriac Harold van Pelham, who travels with his private nurse to the fictious island of Paradiso to live blissfully in a warm climate in order to regain his health. In Paradiso, he finds himself in the middle of a revolution, which Harold assumes is being staged as an entertainment for his amusement. With the aide of an eight feet nine inch giant named Colosso (Johan Aasen), Harold crushes the rebellion and the excitement cures him of his imagined ailments. Why Worry? is unquestionably on of Lloyd's most hilarious comedies.

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