Love in High Gear

Made ten years before the current Harrison Ford was even born. This mildly saucy preCode farce is of interest solely for providing posterity with a talkie record of the earlier Harrison Ford, whose last film this was.

The credits make no mention of it originally being a play, but it sure plays like one; and is directed like one too by Frank Strayer. The cast are almost always lined up as though on a stage, feet and all, as they talk and talk; even when filmed out of doors in the early scenes. It then relocates for the second act to a hotel in which people scurry about, hide in cupboards and slam doors; but leadenly paced rather than at the breakneck speed with which satisfactory farce needs to be staged.

Ford himself acquits himself well playing a "low, sneering, leering lothario" called Donald; of whom it's said "No woman's safe when he's around"!

This is a charming, Woodhouse-style comedy of manners, with quirky characters and lots of silliness. The print of the film that I watched was fine for such an old movie. Harrison Ford has top billing, but not really a starring role. Tyrell Davis and Alberta Vaughn were very cute as the loving couple trying to elope. But the people who carried the farce into the next dimension, in my opinion,were Fern Emmett and Jack Duffy as the hotel proprietors. I really don't understand why other reviewers didn't enjoy this the way my husband and I did!

Silent screen star Harrison Ford bows out with the forgettable Love in High Gear, which proved to be his only talkie. He spends much of his time hiding in a cupboard, driven there perhaps by the broad overacting of his fellow cast members. The plot, in which a hapless detective (Fred Kelsey) investigates the theft of some valuable 'poyuls' that were lifted by Ford at a swanky party, is thin as paper and just as colourless, and the so-called comedy is laboured and unfunny.

I obtained a mediocre copy of this film from a public domain source and watched it because I wanted to hear silent star Harrison Ford the 1st's voice in his only talkie.

This film has nothing to do with a race car driver, as the other reviewer states here, nor is it a silent film (that would be unlikely by 1932 anyway), as the same reviewer states here. I don't know what film he saw but it wasn't the same one I watched! Harrison plays a jewel thief who steals a valuable string of pearls at a wedding of friends. The film is meant to be a comedy and there are a few laugh out loud moments but not enough to save the film, which looked like a stage play filmed in New York by some minor company. It's no wonder Harrison went back to the stage after the silent film era ended. He still had the clown in him, but speaking dialogue often ruined the impact; it actually might have been better as a silent film.

Harrison's voice was just fine, a very nice stage voice, probably a little smoky from cigarettes, or maybe that was just the microphones of the day or the general wear on the soundtrack over time, which was slightly muffled. The print I saw also had a flutter every few seconds which was annoying. I don't know how these PD film companies sell these poor prints and expect 20 dollars for them. Never again! I give the film a 6 out of 10 and I'm being somewhat generous, but it did satisfy my curiosity about his voice and there were a few laughs, but the overall plot of the film was silly and I never did figure out why he stole that pearl necklace! How can you have a film like this without a stated motive in the plot?

Love in High Gear provides a nuanced and subtle treatment of gender in depression era Chicago. Centering around Donald Ransome, a former race car champion whose career is in decline, and Betty, the sassy female mechanic working on a revolutionary engine design that may revive Donald's career, the film openly criticizes many societal attitudes of the time as they related to women, homosexuality and affirmative action legislation. Harrison Ford shines in his last ever role, capping off a sparkling career for the silent era superstar.

Prospective viewers should note that this is a silent production, so it can be a bit uncomfortable always having to look at the screen to read the subtitles, and one feels this film could benefit from some color restoration (how long did it take for directors to work out that black and white film is BORING!), but at the same time this is a powerful film with a positive social outlook that we could all learn from today. The director was ahead of his time and if you liked this film then you should also check out Behind Stone Walls which tackles similar themes from a very different outlook.

Five out of six stars.