Patte de chat

Before Frank Capra's socially-aware comedy-dramas such as "It's a Wonderful Life," "Mr. Deeds Goes to Washington" and (my favorite) "Meet John Doe" there was "The Cat's Paw." In fact, "The Cat's Paw" and "Meet John Doe" share a similar plot: Corrupt politicians in a pickle find a sap to run for office so that they can use him for their own purposes.

In this case, Harold Lloyd plays a naive missionary just returned from China to his hometown of Stockport. Lloyd's character, Ezekiel Cobb, had planned on catching up with a friend of his, the Rev. Julius P. Withers, who dies unexpectedly. Withers had been running for mayor as the token losing opposition against the long-corrupt incumbent. His planned loss would've insured Withers' party (THE REFORM PARTY, no less! Talk about cynicism!) would continue to be paid off through the mayor's graft. Wouldn't you know it, just as the Reformers are looking for some sap to take Withers' place, in walks Ezekiel. Naturally, Ezekiel wins instead of losing, and turns idealistic political reformer -- much to the dismay of all the town's corrupt politicians and criminal class. Ezekiel's solution to halting the political corruption is both surprising and hilarious.

I found this film on TCM and, much to my surprise, not only kept watching it, but kept laughing -- all the way through. Great performances by Lloyd, transforming from unsophisticated (he doesn't even know how to use a phone!), Chinese-proverb quoting straight-arrow to incorruptible populist mayor; Una Merkle as the tough-girl love interest who convinces Ezekiel to do what's right through canny reverse psychology; and George Barbier as the initially-corrupt Reform Party boss, who comes around to Ezekiel's way of thinking. Also, lots of familiar character-actor faces whom you can't identify though you know you've seen them before.

This film is well worth seeking out. If it's not on VHS or DVD, it should be! It's a forgotten classic!

Returning from 20 years in China, a young missionary refuses to become THE CAT'S-PAW for a gang of hometown hoodlums.

This movie was a bit of a departure from Harold Lloyd's previous movies. Comedy derived more from dialogue, often rather serious, predominates here, rather than the elaborate sight gags which powered Harold's classics of the past. There are some splendid moments, however, which are pure visual fun, as when Harold attempts to follow a convertible down a crowded street, or when he desperately tries to keep a nightclub stripper from losing her clothes. There is also the climactic scene, set in a Chinatown basement, in which Harold gleefully jumps unabashedly into the darkest comedy. But most of the humor derives from Harold's refusal to be the patsy of the criminals who've run his hometown for years.

And it's quite a collection of crooked politicians & thugs Harold finds himself up against, played by a bevy of fine character actors: George Barbier, Nat Pendleton, Grant Mitchell, Edwin Maxwell, Alan Dinehart, Warren Hymer & stuttering Fuzzy Knight. Pert Una Merkel is on hand as the tobacco stand girl who catches Harold's eye and keeps him intrigued by her no-nonsense outlook on life.

Movie mavens will recognize Samuel S. Hinds as Harold's missionary father; Charles Sellon as an elderly Stockport clergyman; and Herman Bing as a German gangster--all uncredited. Also, showing up for only a few seconds as an attempted kidnapper, is Noah Young, a familiar face from Harold's silent films, here making his final appearance in a Lloyd picture.

Fox gave the film fine production values, especially in the opening scenes set in China.

We hear so much about how the coming of sound ruined careers. This doesn't seem to be the case for Harold Lloyd, who smoothly makes the transition to talkies in 'The Cat's Paw' (1934). The story has Lloyd as missionary's son Ezekiel Cobb raised in rural China. On return to America Cobb becomes a patsy for a political machine, but to everyone's surprise gets elected mayor.

The story is entertaining even though most of the jokes fall flat. It does contain a lot of racial stereotypes and epithets, but is good natured and pretty equal-opportunity in it's treatment of various ethnic groups making it at least honest in it's portrayal of life in Depression era U.S.A.

Modern audiences may find the use of caucasian actors in Chinese roles, and the dubbing of Lloyd when he speaks Chinese in 'The Cat's Paw' as much more blatantly obvious than did audiences of the time. And while it's not as groundbreaking as Lloyd's silent film work, and there are admittedly better films from the mid 30s, as mentioned, it's entertaining and fast moving, and worth checking out if for no other reason than to see Una Merkel as savvy cigarette girl Pet and to see Lloyd transition from sight gags to speaking.

I really enjoyed this old black and white talkie. At first I didn't recognize Harold Lloyd as Mr. Cobb, a missionary to China coming home to find a wife. There were many twists and turns in Mr. Cobb's attempts to clean up city hall. His methods of making the punishment fit the crime would likely be illegal, but this is not a movie based on reality. This would be a perfect movie for children except that there is female near nudity (pasties only on Grace Bradley)! The old telephones are enchanting. The only fault is a problem typical of the day - Caucasians are used to represent Chinese men. This is offset by the positive way the Chinese are portrayed. They are the wise, good and friendly guys. Trivia - a Bekins truck appears in the movie when the police run out of Black Marias.

Maybe it was because I had heard about how every silent film star failed to make quality sound films but I was caught by surprise that I actually enjoyed this Lloyd vehicle. While definitely not as innovative or captivating as his silent work, The Cat's-Paw proves to be a delight to watch.

Harold Lloyd's character is a good fit for his acting skills and does not seem very far off from the up and coming and somewhat hopeful and naive characters he played in the silent era. I loved the oddity of his character and thought that the running joke of him quoting Ling Po was highly enjoyable, probably because it reminded me of how people always misquote Confucius. The political message is a bit alarming to modern viewers but does not completely overshadow the finale's bizarre yet amusing ending and makes more sense when taken into the context of the times. While not a groundbreaking piece of film, it is still an enjoyable snapshot into Lloyd's career after the advent of sound and the political climate of mid-1930's America.