À la hauteur!

This is one of Lloyd's first talkies and might have played better as a silent, since most of the action revolves around a whole bunch of amusing sight gags.

He's a hapless shoe salesman who tells a wealthy girl that he's a tycoon and spends the rest of the film trying to impress her after unable to leave a cruise ship before it takes off. All of the shipboard scenes are amusing but become repetitious after the first twenty minutes. Highlight of the humor is Lloyd's interaction with sailor Noah Young, adept at playing a dummy.

Silly plot manipulations end up with Lloyd getting stuck inside a mailbag and somehow hoisted up the side of a building on a flimsy scaffold. It's here that the film reminds one of the silent success he had with his skyscraper routine. Although the gags are inventive and foolish enough, it's an extended sequence that plays out over too much running time. WILLIE BEST is seen as a black maintenance man who's no help at all to Lloyd when he becomes aware of his plight. It's the kind of stereotyped role that makes today's politically correct audiences squirm.

Summing up: Funny in spots, but certainly not one of Lloyd's best efforts. The scaffolding gags look painfully real.

Lloyd's career, like that of Keaton's, was irreparably damaged by the advent of sound, and this film is a fairly good example of why he failed to survive the transition. While the physical comedy is as funny as it was in his silent movies, the verbal comedy is, for Lloyd, one almighty pratfall. He clearly realised he needed something to amend for this shortcoming and, with a hint of desperation, harked backed to Safety Last (1923), one of his greatest silent films, by repeating the entire scaling the outside of a skyscraper sequence.

Lloyd plays a lowly shoe salesman who falls for a woman he believes is the daughter of the wealthy owner of the shoe store he works for but who is actually his secretary. Lloyd inadvertently manages to end up as a stowaway on the boat which his beloved and her boss are travelling and attempts to pass himself off as a wealthy young businessman while trying to avoid the ship's crew.

For most of the film the laughs are pretty strained. To be fair the film isn't particularly bad, but it falls so far below Lloyd's previous standards that you end up believing that it is. The finale in this film is almost as thrilling as the one in Safety Last, but it's just a repeat (without a musical score) and it smacks of desperation on the part of both Lloyd and his studio.

I first saw the finale of this film in the compilation, HAROLD LLOYD'S WORLD OF COMEDY, in 1962, in a jam-packed 800-seat theatre. The audience roared and ROARED with laughter and excitement. It was the funniest, most thrilling thing I had ever seen in movies (I was 21) and I never forgot it.

What surprised me when I finally saw the whole of FEET FIRST recently, after seeing nearly all of Lloyd's silents (including SAFETY LAST) in the intervening period, is not only how well the final building-climbing sequence still holds up, but how inventive and funny the entire film is. There's a long sequence of Harold as a shoe salesman that's as hilarious and creative as anything in his silents, and there are just no dull spots at all.

The final long sequence on the side of a building is in NO WAY just a rehash of the SAFETY LAST sequence. I doubt if there's a single gag in it that repeats anything in the earlier film. It's every bit as imaginative and hair-raising as SAFETY LAST, a real tour de force. The bumbling Willie Best is a bothersome racial caricature, certainly, yet in terms of comedy, his "unflappable" casual unconcern is a perfect foil for Lloyd's kinetic, action-filled, dangerous gags, and he has one of the funniest lines in the picture.

Keaton and Laurel & Hardy (in their features) lost creative control of their work in the sound era, Langdon never made a starring-vehicle sound film, and Chaplin didn't make a talking film until 1940. Lloyd's sound films were not so successful at the box office, and a reasonable assumption would be that they, too, lacked whatever mysterious element had made the silent comedians great. In the case of Lloyd, at least as regards to his three pre-Code era films designed for sound, this is dead wrong! FEET FIRST, MOVIE CRAZY, and THE CAT'S PAW are all top-notch comedies (and his three films that came after them aren't bad either).

As with all of Lloyd, this is best seen with an audience, but even on TV it's a funny, funny film.

This Harold Lloyd feature provides good low-key comedy, capped off with a lengthy finale that is very much in the style of a throwback to the finale of Lloyd's "Safety Last" and other silent classics. Lloyd has the kind of role that allows him to use most of his range of comic talents, and the story sets up plenty of predicaments for his character to try to wriggle out of.

The story has Lloyd as an ambitious but rather hapless shoe salesman, who tries to pass himself off as someone important in order to impress a young woman. It's familiar territory for Lloyd, but the story adds plenty of good material that makes the character again and again scramble for ways out of a continual series of problems.

The finale has Lloyd's character getting caught on the outside of a tall building, and desperately trying to get to safety. It contains a number of imaginative details and obstacles to add to the suspense and humor. The only drawback is the heavily stereotyped character played by Willie Best, which distracts your attention away from the good comedy material. That's nothing at all against Best, who was a talented comedic actor who simply took the roles that were available to him, and who would have succeeded if he'd been given the chance to do more.

Overall, though, it's a solid comedy, and one that allows Lloyd to do many of the things that made him so popular.

Harold Lloyd's second talkie, after Welcome Danger (which, if I recall correctly, was only part talkie). It's okay, but a step down from Welcome Danger. As far as I'm concerned, Lloyd's The Milky Way from 1933 is among his best films, so I certainly don't think he lost his talent after the silent era. Feet First comes across as desperate at times, mostly during the final act, which re-creates the climax of Safety Last!, with Lloyd dangling off the side of a skyscraper. In this film, Lloyd is a lowly shoe salesman who is mistaken for a leather baron by his employer, for whose daughter (Barbara Kent, star of Pal Fejos' Lonesome) he has fallen. There are some amusing sketches, but nothing particularly great.