Zampa di gatto

Before Frank Capra's socially-aware comedy-dramas such as "It's a Wonderful Life," "Mr. Deeds Goes to Washington" and (my favorite) "Meet John Doe" there was "The Cat's Paw." In fact, "The Cat's Paw" and "Meet John Doe" share a similar plot: Corrupt politicians in a pickle find a sap to run for office so that they can use him for their own purposes.

In this case, Harold Lloyd plays a naive missionary just returned from China to his hometown of Stockport. Lloyd's character, Ezekiel Cobb, had planned on catching up with a friend of his, the Rev. Julius P. Withers, who dies unexpectedly. Withers had been running for mayor as the token losing opposition against the long-corrupt incumbent. His planned loss would've insured Withers' party (THE REFORM PARTY, no less! Talk about cynicism!) would continue to be paid off through the mayor's graft. Wouldn't you know it, just as the Reformers are looking for some sap to take Withers' place, in walks Ezekiel. Naturally, Ezekiel wins instead of losing, and turns idealistic political reformer -- much to the dismay of all the town's corrupt politicians and criminal class. Ezekiel's solution to halting the political corruption is both surprising and hilarious.

I found this film on TCM and, much to my surprise, not only kept watching it, but kept laughing -- all the way through. Great performances by Lloyd, transforming from unsophisticated (he doesn't even know how to use a phone!), Chinese-proverb quoting straight-arrow to incorruptible populist mayor; Una Merkle as the tough-girl love interest who convinces Ezekiel to do what's right through canny reverse psychology; and George Barbier as the initially-corrupt Reform Party boss, who comes around to Ezekiel's way of thinking. Also, lots of familiar character-actor faces whom you can't identify though you know you've seen them before.

This film is well worth seeking out. If it's not on VHS or DVD, it should be! It's a forgotten classic!

It has to be admitted that the best work of Harold Lloyd ended with his last great silent comedy "Speedy" in 1928. After that he enters sound films (like Chaplin and Keaton and Laurel & Hardy and W.C. Fields) and does do better than Keaton, but not as well as the other three. Chaplin was rich enough to make his own films as producer (but he paced his films so there were five years between productions). Laurel & Hardy were under the protection of Hal Roach, so production standards for their shorts and sound films were pretty good. Fields first worked with Mack Sennett, than with Paramount, and then free-lanced. Lloyd tried the route that Chaplin took, but with less success.

He produced his own films, but unlike Chaplin he did not own his own studio. Also his first two choices were not good (especially "Feet First"). But he did begin to choose more wisely and "Movie Crazy", "The Cat's-Paw", and "The Milky Way" were all good choices. These three (and possibly "The Sin of Harold Diddlebock") were his best sound ventures. They are all entertaining, but none are up to "Safety Last", "The Freshman", "The Kid Brother", or "Speedy".

Of the top four sound films "The Cat's Paw" is the most controversial. Ezekiel Cobb's solution to ridding the city that elects him mayor is very extreme for the tastes of 2005. Or is it? When a movie is made dictates what it's politics are: "The Cat's Paw" is from 1934. That second year of the Roosevelt New Deal (itself rather controversial for heavier government involvement) movie audiences saw films like "Gabriel Over the White House" and "The Phantom President", where our leaders did extra-Constitutional actions to rid the nation of internal enemies (and to force disarmament around the globe). Even Cecil B. De Mille got into this act with "This Day and Age", where a bunch of teenagers use rats to force a gangster to confess his crimes.

To us, the use of violence to force anyone (even a bunch of goons and boodlers like Alan Dinehart's gang) to confess is repellent. After all, the Supreme Court has protected us from confession under duress. What we forget is that the reforms we are thinking of did not occur until the Warren Court and the Burger Court made them. For example, although Mr. Justice Sutherland's opinion in the Powell ("Scottsboro Boys") Case of 1932 guaranteed every criminal defendant had a right to counsel, Gideon v. Wainwright did not extend this to ordering court paid counsel to defendants until 1962. The Miranda Case, with it's now well-known anti-self-incrimination warning is from 1963. Nothing like this were considered necessary in 1934.

If you study other movies of the period up to 1954 (and even to 1960) tricks are used to get confessions - Kirk Douglas confesses his crimes in front of witnesses in "I Walk Alone" while Burt Lancaster holds a gun to him. When Lancaster leaves, Douglas sneers about confessing under duress, only to see the gun is unloaded. Suddenly he realizes that (legally - in 1948) he has confessed without duress. Hate to say it, to any civil libertarians reading this note, but what Cobb/Lloyd does to Dinehart and his pals in the conclusion of "The Cat's Paw" was not only legal, but would have led to their jail sentences in 1934. We may call it heavy handed, fascistic, or horrid, but it would have worked legally when it was thought up.

The social satire of this cinematic diversion shows Harold Lloyd proving he is as funny as he ever was in silent pictures. It does seem as though Mr. Lloyd's Chinese was dubbed in this film.

Despite its presentation of ethnic stereotypes that might be offensive to some modern day viewers, The Cat's Paw is still charming and rather tongue-in-cheek and not at all malicious. In fact, this writer would rank it among Lloyd's best sound features. Its greatest asset is its potent commentary about simple life values.

You do not need nine reminders to watch this film...just nine lives to enjoy it time and time again.

Returning from 20 years in China, a young missionary refuses to become THE CAT'S-PAW for a gang of hometown hoodlums.

This movie was a bit of a departure from Harold Lloyd's previous movies. Comedy derived more from dialogue, often rather serious, predominates here, rather than the elaborate sight gags which powered Harold's classics of the past. There are some splendid moments, however, which are pure visual fun, as when Harold attempts to follow a convertible down a crowded street, or when he desperately tries to keep a nightclub stripper from losing her clothes. There is also the climactic scene, set in a Chinatown basement, in which Harold gleefully jumps unabashedly into the darkest comedy. But most of the humor derives from Harold's refusal to be the patsy of the criminals who've run his hometown for years.

And it's quite a collection of crooked politicians & thugs Harold finds himself up against, played by a bevy of fine character actors: George Barbier, Nat Pendleton, Grant Mitchell, Edwin Maxwell, Alan Dinehart, Warren Hymer & stuttering Fuzzy Knight. Pert Una Merkel is on hand as the tobacco stand girl who catches Harold's eye and keeps him intrigued by her no-nonsense outlook on life.

Movie mavens will recognize Samuel S. Hinds as Harold's missionary father; Charles Sellon as an elderly Stockport clergyman; and Herman Bing as a German gangster--all uncredited. Also, showing up for only a few seconds as an attempted kidnapper, is Noah Young, a familiar face from Harold's silent films, here making his final appearance in a Lloyd picture.

Fox gave the film fine production values, especially in the opening scenes set in China.

As a Harold Lloyd fan, i agree with the other reviewer's comments, EXCEPT that I feel that "Movie Crazy" was his best sound film; "Cat's Paw" is a close second. (But, this is just MY opinion).

This film is a "hoot" from beginning to end and, in many scenes, George Barbier (the crook that gets him elected mayor) almost steals the show! (Especially at the end of the film).

One wishes that Una Merkel's character would be a bit more sympathetic to Harold, especially as the film progresses. Only in the last few minutes of the film do we find out her true feelings for him. (And, even then, there is no "romance" - kissing, etc).

This is a Must-See film!