Silence... on tourne!

... and seems to get blamed for all of them. Sure, he's clumsy, but he isn't the cause of half the bad things that happen to his character.

Lloyd plays Harold Hall, a guy who is "movie crazy" - he wants to be an actor in Hollywood. First unfortunate event - He writes a letter to a movie producer stating his desire to become an actor and has a photograph of himself he plans to mail with the letter. His father looks at the letter and mixes up a photo of a much more handsome fellow with Harold's photo, and the handsome fellow's photo is what gets mailed, unknown to Harold. So when he gets a letter back saying to come to Hollywood for a film test he has no idea what has happened.

Once in Hollywood, there are more mix-ups, the main one being that he doesn't realize that the beautiful Spanish girl he meets on a film set is actually actress Mary Sears (Constance Cummings) in make-up with a fake accent. He can't figure out how Mary knows everything he says to the Spanish girl. The dark side of things is that Mary has an actor boyfriend who has made it clear to Harold that he'd kill Mary before he'd see somebody else have her.

Lloyd was always the optimistic young man of the roaring 20s during the silent era, and by keeping things in the rather make believe land of Hollywood he manages to avoid setting this film in the depths of the Great Depression.

Lloyd was very successful monetarily - a very good businessman. As a result he could afford to outright retire from filmmaking after 1938 and never worry about money. This made his films - and in particular his sound films - become rather obscure and hard to find. Ironically, Buster Keaton stayed much better known because he was bad at the business end of filmmaking and had to keep working.

This film is very funny and I highly recommend it.

MOVIE CRAZY is one of Harold Lloyd's very best films, and that includes his silents. Sound complements his visual gags and adds depth to the story's characters without slowing down the humor.

What really makes this film singular is his relationship with the femme lead. Constance Cummings, one of the great, forgotten thirties performers, provides a complexity of character unique in this kind of comedy, certainly for the time. She's not a tacked-on "love interest;" her relation to Lloyd is integral to the story and essential to the success of the film. Her character is cosmopolitan, and an interesting aspect of it is her relationship to her slim, attractive and cultured black maid (NOT your usual thirties movie maid!) who seems more of a companion than a maid. At first Cummings finds Lloyd ridiculous, then irritating, but after a while she finds his natural affinity for disaster strangely interesting and she becomes fond of him. She's amused by him, and toys with him in an affectionate way.

Laughter is a mysterious, fragile thing. Among other things, it can be injured by too big an advance expectation. And some comedy needs an audience for fullest effect: Lloyd's comedy is that type. (Keaton, on the other hand, works as well in solitude.) Seeing this film with a large audience, I was helpless with laughter at numerous points in the film. The effect may not be the same if you see it on television, alone.

This is not a perfect film (but then really great films are rarely perfect). The sequence where he accidentally dons a magician's coat is funny, but too long and a bit too mechanically calculated. His battle with the villain on a waterlogged movie set meets the requirements for an action-filled finale, but is not the film's most inventive sequence. But the best sequences are terrific.

Partly because of the long-time unavailability of his films until recent years, Harold Lloyd has received critical short shrift from the silent comedy mavens. Keaton and Chaplin are demi-gods, and Laurel & Hardy and Langdon have been fully rehabilitated (if ever they were in disrepute), but Lloyd is still in the shadow, and that's unfair. Whatever else he is, Lloyd was consistently the FUNNIEST of them all, and his gags are always fresh, inventive and original. (I say this having seen nearly all the films of all these great performers.) The Lloyd character, too, though it varied from film to film, was never just a cipher, but a real, fully developed persona.

Seen in the right circumstances, MOVIE CRAZY can hold its own with filmdom's greatest classic comedies.

Harold Hall is a man who desperately wants to be an actor.Soon he is off to Hollywood.They are expecting somebody who doesn't look anything like Harold, because he accidentally sent a wrong photo.In Hollywood Harold causes lots of trouble and falls in love to an actress named Mary Sears.Movie Crazy is a hilarious comedy from 1932.Harold Lloyd shows that he wasn't the master of silent movies only, he could handle talkies too.He runs from a funny situation to another.Constance Cummings is brilliant as Mary.She does her job just as good as Harold does.This movie made me laugh many times.If a comedy movie does that, then that's a good comedy.

MOVIE CRAZY certainly is one of the best Lloyd's Talkies. From the opening gag on there are so many enjoyable moments only Lloyd knows how to provide. The screen test scenes are among the highlights. As always gags are very tightly built. Lloyd also handles the dialogue and timing pretty well; but Constance Cummings portrays a dominating, intelligent female lead that is rare in Lloyd's movies. Only complaint: if the high rise sequence in Feet First is recycled from Safety Last, the fighting-in-the-water scene here certainly looks familiar as well-from The Kid Brother. It's also a bit long and excessive.

MOVIE CRAZY (1932) isn't one of Harold Lloyd's greatest comedies, or even, in this reviewer's opinion, his best talkie. It's a cliché story: small-town boy comes to Hollywood for stardom and falls flat on his face. Nincompoop wreaks havoc on movie studio. It's been done countless times, from Buster Keaton in FREE AND EASY (1930) to Red Skelton in MERTON OF THE MOVIES (1947).

Harold Lloyd plays the part of the fool, who ruins everything he comes in contact with. This type of character (similar to the talkie roles MGM would write for Buster Keaton) is sometimes hard to watch. Hopelessly naïve and pathetic. Viewed as a freak and played for a sucker. Always knocking over stacked objects or falling in puddles.

The gags are old and predictable (at least nowadays) and there are no groundbreaking stunts or anything. How many times have we seen the "oops, we must've switched hats" routine? And what do you think happens when Lloyd offers to help a woman unfold the top to her convertible? Or open an umbrella? Does that trick magician's jacket look just like Harold's, hanging in the restroom? (You bet it does.) This comedy just isn't all that funny, lacking some of the magic evident in Lloyd's silent classics.

The best thing in this movie is the beautiful Constance Cummings, who gives a rather impressive naturalistic performance as a Hollywood starlet whose path is crossed by Lloyd's accident-waiting-to-happen character. Cummings grows fond of Lloyd (whom she nicknames "Trouble") and her character manages to bring a cute romantic element to the film.

The first half-hour or so is pretty dull, but there's a fun little twist where Lloyd cannot recognize Cummings in her exotic on-set make-up and falls in love with the same woman twice. Cummings realizes this and plays around with Lloyd's heart. But does she actually love him, or is it all part of some game? This interesting "love triangle" is the strongest part of the script, and Cummings manages the dual role beautifully.

MOVIE CRAZY isn't all bad, but it is something of a letdown. Most of the "comedy" is tiresome, although certain bits work better than others. Interestingly, this talkie lacks some of the wit of Harold Lloyd's silent films. The story is nothing special, but Constance Cummings shines in her role and anchors the sweetness that makes the film's second half worth watching.