Plein les bottes

One of Harry Langdon's most enjoyable outings, this one gets into the plot straight away. The laughs start coming thick and fast as soon as he makes his dull-witted entrance, and they continue most heartily right up to the cyclone climax which, with all its mechanical contrivances, I thought the least funny in the movie. I feel Harry is at his best when he has minimal props to sustain him and is forced to rely heavily on his stop-and-start walk, his facial twitches and his hesitant to-and-froing to keep laughter at its height.

Langdon's style of comedic reacting needs excellent stooges and in this film he has two of the best in his entire career: Tom Murray who is beautifully set up for conflict right from the opening shot and is then brilliantly revealed not only as a ruthless landlord but as a stop-at-nothing competitor; and pushy Brooks Benedict who artfully manages one of Harry's funniest routines in the movie.

And then, of course, there's Joan Crawford. Admittedly, although she is the catalyst for Harry's cross-country sprint, she is not exactly treated as a star equal. In her key scene with Harry, her face is hidden by her cloche hat. But nonetheless, she's in there swinging.

Superbly enhanced by some of the most beautiful tints ever presented on the screen, this movie is a visual delight from first to last.

The Strong Man is generally considered THE Langdon film, but I

think that's because it's dramatically stronger and more unified-- which in some ways only makes it less suitable for the quizzical little comedian at the center of the story, who's really too small to carry such a big film. Tramp, Tramp, Tramp is more shapeless and to my mind is the quintessential Langdon comedy, especially since its high point lets him do his own distinctive variations on famous moments from two other silent comedians. A competitor in a cross-country marathon walk, Langdon winds up in the middle of nowhere, dangling from a fence over a cliff; where Harold Lloyd dangled over a busy city, the reaction of the crowd being used to whip up a comic frenzy, Langdon's childlike struggles occur in the most desolate, abandoned nowhere, a place where his body wouldn't even be found for 50 years. Later, sliding down the cliff, Langdon finds himself in the middle of an avalanche, much like Keaton in Seven Chances-- but where Keaton dodges boulders heroically, Langdon simply shuts his eyes and wishes his predicament away. From the wildly oversized mugging of the Keystone era we are now at the absolute extreme of comedy minimalism; Langdon is to slapstick what Malevich's White on White is to painting.

This is a pleasant comedy with a good assortment of gags and stunts. It also gives Harry Langdon a showcase for his brand of comedy, which is distinctive, although a cut below the comedy greats of his era like Keaton and Chaplin. Langdon's approach is slower and more child-like, sometimes overly so, but often it works well (which is no doubt thanks in large part to some good writing).

"Tramp, Tramp, Tramp" has a light, deliberately silly plot that sets up many good moments. Harry is trying to win a cross-country walking contest to win a prize that would save his father's business, while also trying to impress the girl he loves. (It is quite interesting to see a young Joan Crawford in this role - she does not look very much like she would in her later starring roles.) There are several very entertaining scenes, and even if you are not fond of Langdon's personal style, there are some creative gags, and most of the sequences work well. There's also a rather breath-taking stunt on the side of a cliff that even Keaton or Harold Lloyd would have been proud of.

While it may be of interest mainly to those who already like comedies of the era, most silent film fans should find this worthwhile and entertaining, if a notch beneath the great comedy classics of the era.

Desperately in need to pay the rent, a naive young fellow begins the long TRAMP, TRAMP, TRAMP of a walking race across the United States for the prize money.

Harry Langdon brings his own brand of minimalist comedy to this charming little silent film. Eschewing most manifestations of slapstick, Harry instead portrayed his famous character as an innocent child-man, a kind of adult baby, who reacts with insouciant naiveté to the perils the wicked world flings at him. Here he must compete with his devious landlord for the prize money, while the race itself confronts him with prison gangs, wild weather & honest-to-goodness cliffhangers. All the while Harry never loses the daffy optimism which continues to propel him along.

A talented supporting cast adds to the film's success: Alec B. Francis as Harry's crippled, impoverished shoemaker father; Tom Murray as the belligerent landlord, who also just happens to be the world's champion race walker; and Edward Davis as the shoe tycoon who sponsors the race. As his lovely daughter, Joan Crawford doesn't have much to do except encourage Langdon in his endeavors, but her few romantic scenes with him manage to be both poignant & ludicrous simultaneously.

Harry's production company burnished the film up nicely, with the cyclone sequence particularly effective. One of the story writers was a young Frank Capra, who would be a big contributor to Harry's short-lived stardom.

Baby-faced Harry Langdon never made it to the top in the way that Chaplin, Keaton and Lloyd did, and watching this, his first feature film, it isn't difficult to see why. Langdon isn't a bad comic actor, but the pacing of the gags is sometimes painfully bad (over-extended usually) and, while this film does hit a few modest high notes it never comes near to challenging the work of the silent comic greats.

Langdon plays the son of a shoe store owner who is going out of business because of the competition from Burton Shoes, a major factory with a nationwide advertising campaign fronted by a young (and barely recognisable) Joan Crawford, on whom young Harry has a hopeless crush. This being Hollywood, Joan is quite attracted to Harry too, and encourages him to embark on a cross-country race to raise the money he needs to save his father's store.

While there are some funny scenes, too many of the big moments seem to be steals from other movies. Harry hangs precariously from a fence on the edge of a cliff by his belt buckle in much the same way Harold Lloyd hung from the side of a building in Safety Last. He also slides down a long hill, dodging rolling rocks as Keaton did in Seven Chances. The comical scenes that are original aren't all that funny and go on too long, and the climactic cyclone sequence is particularly poorly handled.

While Tramp, Tramp, Tramp isn't by any means a dud, it's purpose now seems merely to show how much better the likes of Chaplin and Keaton were at their craft.