It doesn't have the airtight construction that defines the best of Harold Lloyd's feature comedies, but the individual sequences—including a climactic, car-hopping chase through downtown Los Angeles—are executed with an aerodynamic verve. In this one, Harold is a rich kid (he buys a new car to match his suit, wrecks it, and calmly lights a cigarette from the smoldering ruins) smitten by a lovely evangelist (Jobyna Ralston) who works skid row. The print in circulation, unfortunately, has been “tightened” for television showings, thus perpetuating the false idea that silent comedies consist solely of nonstop freneticism. Sam Taylor directed (1926).
By Dave Kehr