Harold Lloyd

It was asserted by the present critic, when The Gold Rush appeared last August, that the comedy of the moving pictures had come to be dominated by the school of Harold Lloyd and Buster Keaton, the exploitation of comic tricks or gags. And I prophesied that Chaplin, with his finer comedy and his less spectacular farce, would not be able to hold his popularity against it. What has happened is precisely the reverse of what I predicted. The Gold Rush has had a great success; and, so far from playing Chaplin off the screen, Buster Keaton and Harold Lloyd have taken to imitating him.

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The success of Mickey Mouse is so great that it overshadows not only the competitors of Walt Disney in the field of animated comics, but Disney’s own more interesting work, the “Silly Symphonies.” Mickey Mouse is a movie comic of the first order, but I do not think its popularity depends entirely on its artistic merit; it has some of the element of a fad, where it joins the kewpie and the Teddy Bear, and I think because Mickey Mouse is a character, Disney finds himself forced occasionally to endow him with a verbal wit and to give him too much to say, which is against the spirit of the animat

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