A timid milkman accidentally KO's the world middleweight champ, and finds himself being promoted as a contender. Something better might have been hoped for from the sole collaboration of Harold Lloyd, the biggest laugh-getter of the silent era, and Leo McCarey, one of the chief architects of the screwball comedy style of the talkies. Yet by this point (1936) Lloyd was slowing down, and with the transition to sound he had somehow acquired an annoyingly sticky, waiflike persona—the exact contradiction of the brash self-confidence of his silent work. The film works well enough, though the moves are familiar and they don't begin to suggest the ingenuity Lloyd was capable of. The Danny Kaye remake, The Kid From Brooklyn, is both better known and vastly inferior. With Adolphe Menjou, Helen Mack, and Lionel Stander.