CALIFICACIÓN DE IMDb
7.1/10
1.7 k
TU CALIFICACIÓN
Tras una confusión con la fotografía de su candidatura, un aspirante a actor es invitado a una proyección de prueba y se marcha a Hollywood.Tras una confusión con la fotografía de su candidatura, un aspirante a actor es invitado a una proyección de prueba y se marcha a Hollywood.Tras una confusión con la fotografía de su candidatura, un aspirante a actor es invitado a una proyección de prueba y se marcha a Hollywood.
- Premios
- 1 nominación en total
Eddie Fetherston
- Bill - Assistant Director
- (as Eddie Fetherstone)
DeWitt Jennings
- Mr. Hall
- (as De Witt Jennings)
Bruce Bennett
- Dinner Guest
- (sin créditos)
Jack Chefe
- Party Guest
- (sin créditos)
Edmund Cobb
- Harold's Classmate Bill
- (sin créditos)
James Ford
- Party Guest
- (sin créditos)
Wally Howe
- Minor Role
- (sin créditos)
Argumento
¿Sabías que…?
- TriviaClyde Bruckman is the credited director, but most of the film was actually directed by Harold Lloyd due to Bruckman's often being incapacitated due to his alcoholism.
- ErroresDuring flood/fight scene, "Vance" has a noose wrapped around his ankle. As the scene progresses, Vance is seen kneeling with no rope attached. In the next scene, the rope is again around his ankle as the fight continues.
- Citas
Radio Broadcaster: [First lines] You have been listening to the Voice of Hollywood. That enchanted town. Here is the place where adventure came riding in on the magic rug and spilled its magic on those below. Where else can fame spread her wings so fast? The youth today is a star tomorrow. All is gay!
- Versiones alternativas1953 re-release version through Monarch Films is edited to 79 minutes. This was the only version shown on television for years. In April 2003 Turner Classic Movies channel premiered the newly restored version, mastered by the UCLA Film & Television Archive from the original film elements. This version is fully restored and runs 98 minutes.
- ConexionesFeatured in El mundo cómico de Harold Lloyd (1962)
Opinión destacada
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.
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.
- bensonj
- 12 nov 2001
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Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- También se conoce como
- The Unwilling Magician
- Locaciones de filmación
- Productora
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 675,000 (estimado)
- Tiempo de ejecución1 hora 24 minutos
- Color
- Relación de aspecto
- 1.37 : 1
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By what name was Movie Crazy (1932) officially released in India in English?
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