Shelf Life: Harold Lloyd’s silent classic “Safety Last”

Shelf Life: Harold Lloyd’s silent classic “Safety Last” (photo)

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With the simultaneous release of Martin Scorsese’s “Hugo” and Michael Hazanavicius’ “The Artist” in the past two weeks, audiences are discovering a whole world of entertainment that preceded the panoramic, 3D, stereoscopic experience they currently talk and text through: silent film. Apparently, for more than the first 30 years of filmmaking’s existence, Hollywood actually made movies that had no audible dialogue, and relied only upon actors’ expressions (and an occasional intertitle) to communicate what the heck was going on in the story. Consequently, it seemed appropriate to go back and try to dig up one of these old fossils and see if they could hold a candle to the emotional power (much less technical virtuosity) of today’s greatest films, such as Jack and Jill.

Harold Lloyd, along with Charlie Chaplin and Buster Keaton, was one of the biggest stars of the silent era, creating dozens of films that enchanted audiences with fun, romantic stories, and the occasional feat of derring-do. Though it’s little-seen in its entirety, the actor’s “Safety Last” not only ranks among his most famous films, but it offers one of the earliest iconic images of on-screen action, of Lloyd hanging precariously from a clock high above the street below. (The selfsame image was an obvious inspiration for Hugo’s poster.) With interest renewed in the delicate and beautiful art of silent filmmaking, it seemed appropriate to take a look back at one of its purported “classics,” “Safety Last” – but how high does it actually rank?

The Facts

Released on April 1, 1923, “Safety Last” was only Lloyd’s fourth feature-length film, but he’d already made almost 100 shorts, including a stunning 39 in 1919 alone. At the time of its release, it helped cement Lloyd as a star, and perhaps more significantly, one of the true fixtures of the silent era. A year later, Lloyd would part ways with his longtime collaborator (and “Safety Last” director) Hal Roach, and launched the Harold Lloyd Film Corporation, where he subsequently produced his own films. Meanwhile, the film maintains a 92 percent fresh rating on Rotten Tomatoes.

What Still Works

At 73 minutes, this little tale of an ambitious small town boy trying to make a name (and a fortune) for himself in the big city might seem too slight to leave an impression. But far beyond its iconic clock shot, “Safety Last” is a hugely entertaining, emotionally-involving story, anchored by Lloyd in the lead role. Having worked for more than a decade in silent by the time it was released, Lloyd had refined his too-smart-by-half screen persona to razor sharpness, and here he gets character out of one jam with as much dexterity as he gets him into another: propelled by his fiancee’s mistaken impression that he’s big and successful, the way he goes from department store clerk to human fly actually seems quite natural, and gives even its short running time epic scope. (Additionally, his physical dexterity on the side of the building, not just climbing but fully taking advantage of the building’s vertiginous heights, is a marvel of poetic motion.)

The great thing about the silent era was the way in which filmmakers were forced to communicate so much without the use of a lot of superfluous, expository dialogue, which arguably has made audiences lazier in the sound era. The storytelling itself is a marvel of economy, injecting jokes into the narrative (and a narrative into jokes) without adding unnecessary embellishments or digressions. For example, there’s a scene in which Lloyd’s character (also named Harold) meets a hometown friend who’s become a cop. In a moment of showing off, he tells his friend to play a prank on a police officer, but inadvertently picks the wrong cop, and while the gag is funny enough as a standalone set piece, it actually puts in motion Harold’s eventual climbing of the outside of his department store.

Meanwhile, Roach’s direction is similarly economical, although there are definitely some really clever, subtle flourishes that augment the humor where they might have played more obviously. For example, right before Harold’s friend Limpy is set to start climbing the building, the cop who’s after him shows up and starts snooping around. Lloyd races into action and leads the cop to a little shack, where he thinks he’ll lock him in, but there’s another door the cop exits through easily, and begins following Harold back to the store. While we see the cop behind Harold as he congratulates himself for his ingenuity, he doesn’t notice him until he starts noticing a shadow following his in perfect rhythm, and it’s a great, understated little revelation that gives the moment more emotional power – if only in terms of hilarity.

What Doesn’t Work

If there’s anything at all that could be faulted in “Safety Last”, it’s that perhaps by today’s standards the humor is occasionally a little broad – not quite the stuff of slipping on a banana peel, but just about. (All of which is nothing a film like jack and Jill would exploit.) Truthfully, I don’t find this problematic at all – there’s a gag in “An Eastern Westerner” where he literally pulls the rug out from under two of his pursuers, then turns a fire hydrant on full blast into a ballroom, and it floors me. But I think it’s rescued not just because of one’s penchant for sight gags or simple goofs, but because of the effective creation of character, and especially in “Safety Last”, you’re pulling for this guy, even if he survives literally by hanging from his fingertips.

The Verdict

“Safety Last” is a great film that remains entertaining and involving today, and has aged only because of its technical limitations. Otherwise, it’s fun, emotionally affecting, and absorbing in ways that quite frankly most modern movies aren’t. New Line’s 2005 box set features a wonderful transfer of that film as well as many other Lloyd classics, so make sure you check that out, because if you’re looking for someone to call “the artist,” you need look no further than him.

Leave your own memories of Harold Lloyd’s “Safety Last” in the comments below or on Facebook or Twitter.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar


IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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