Among Those Present

This Harold Lloyd comedy has a good combination of slapstick and satire. It also features Lloyd experimenting with Chaplin-style material, as his character impersonates an English lord as part of a parody on the idle rich. On the production end, Fred C. Newmeyer, Hal Roach, and Sam Taylor put together a good story with plenty of laughs and a good pace.

After the other main characters have been introduced, Lloyd's character makes a clever entrance. He plays the kind of eager-to-succeed young man that he later went on to portray in some of his finest full-length movies, and this character is brought into the world of a family run by an equally ambitious matriarch. There is nothing subtle about the characters, and the amusing title cards also add some extra sarcasm to the portrayal of the upper classes.

Although this is the kind of setup that Chaplin was particularly known for, Lloyd and company give it a different feel that works well. The story moves smoothly from one zany situation to the next, and there is a good combination of comedy material, with sight gags blended together with the slapstick and with Lloyd's occasional feats of athleticism. It makes for an enjoyable movie that gives Lloyd plenty of material to work with.

Harold Loyd is pretty funny, and a good physical comic. Among Those Present deals with the contrast between high society and the rest of us. It seems to have been a more popular theme during the 1920s than it is now. (Cf., The Great Gatsby.) Not that we don't have our share of contemporary explorations of the same issue, as in Trading Places, but now the contrast seems to be more about wealth and less about "class" in the old fashioned sense.

The first half of Among Those Present has Loyd imitating a British aristocrat, telling ridiculous stories about "the hunt" to an assembly of awed guests at a tony party, and trying to ride a horse that others refer to as a "brute." (The subsequent ride is more imaginative than the similar one in Auntie Mame.) In the second half, Loyd has lost his trousers escaping from a bull through a barbed wire fence but doesn't realize it. This is the most outlandishly amusing part of the film. No matter how Loyd tries to cover up the fact that he is pantsless, the attempt fails. It's like Laurel and Hardy trying to change trousers after their escape from prison. Probably the single funniest moment in the movie is when Loyd, still in his skivvies, finds himself hopping froglike past a couple of dignified ladies on a bench. (I won't explain what led up to this.)

I laughed out loud a few times even though I wasn't in a particularly good mood while watching it. I mean, my brain hadn't been chemically altered or anything. It's quite amusing.

Poor Neil Doyle who switched off after half the film; he missed the best part of the movie - Lloyd with no trousers. How society has changed since the days when a man with bare legs was enough to send women into a faint (I write as I sit on the beach in just a pair of trunks!).

The scene the lion also comic gold. Was it Woody who reprised this scene with an octopus?

Not one of Lloyd's best but still enough great moments to make it worthwhile (although it does come as a shock when Lloyd's character is given the name O'Reilly at the end!).

Mrs. O'Brien is desperate to have great European hunter Lord Abernathy for her high society party and a fox hunt. Her husband and her daughter are more interested in the simple life. The Society Pilot hires coat check boy O'Reilly (Harold Lloyd) to play the part of Abernathy.

This doesn't have the big stunt comedy of Lloyd's later full length hits. It's a short at around 35 minutes. He has some fun regaling in his imaginary exploits. There are some good slapstick. It's short which doesn't wear out its welcome. It's not terribly deep. Lloyd is honing his comedic skills. It's perfectly fine for a silent era comedy.

This isn't one of Harold Lloyd's better films, it has to be said. He was at his best when delivering physical thrills and humour at breakneck speed, but there's precious little of it here. That's not to say Lloyd's humour couldn't be as effective when it was delivered at a more low-key level, but he needed to mix it up a little with his more dangerous stunts in order to get the cocktail right. Here he plays a bell boy who dreams of being a playboy, and gets the opportunity when he's offered the chance to pose as a wealthy aristocrat at a swanky social gathering. Unknown to Harold, the guy and his girlfriend who invited him are planning to scam the hostess out of her millions. The woman just happens to be the mother of Mildred Davis – an ever-present fixture in Lloyd's movies in those days – so naturally everything turns out alright in the end.

The second half of the film sees Harold losing his pants as he encounters a small zoo-load of animals: Skunks, snakes, bulls, goats, geese and dogs all try to take a bite out of our hero, and it's this part of the film that delivers the bulk of the laughs and prevents the film from being a complete flop.