Never Weaken

The title doesn't make any sense, but otherwise this is a terrific Harold Lloyd short that demonstrates why Lloyd was so beloved.

I watched this shortly after watching another Lloyd short, "Haunted Spooks" (mostly because they come together on the same DVD), and it's very similar in premise to the first half of "Spooks." Lloyd plays a young man who thinks the love of his life is in love with someone else, and he decides to commit suicide. Of course, he's Harold Lloyd, so things don't go as planned, and he instead finds himself dangling above New York city from a construction site. These scenes are real nail biters, as one thing after another threatens to send him plummeting, and Lloyd showcases the dare-devilry that was so common to silent comedy actors from that time.

Grade: A

Harold Lloyd's Never Weaken finds itself notable for several reasons, more than just being Lloyd's final silent short before moving on to strictly feature-length productions. For one, the short was a pioneer of the silent genre known as "thrill-comedy," which blended the elements of slapstick and humor with aspects of a thriller, giving audiences moments to laugh and moments to gasp which, if done right, could give off complex feelings. Furthermore, a good chunk of this short features Lloyd atop a large construction sight, balancing on long, metal pillars, struggling to stay on, and hanging on for dear life in, which only proves more tantalizing when one realizes that Lloyd did all his own stunts for this short, refusing to wear a wire or a harness to further ensure safety and support.

The film stars Lloyd as an office-worker, who plans to wed the beautiful Mildred (Mildred Davis), whom has been his girlfriend for a long time now. However, after hearing a man say to her "of course I will marry you," without any context, the man becomes distraught, emotionally upset, and decides to commit suicide by blindfolding himself and rigging a gun to fire when he pulls a string that is tied to the trigger. After an odd and nearly unexplainable series of events, with the bullet hitting the light next to him, the man finds himself high above the city, atop a construction site, all of a sudden struggling to hold on for dear life.

Never Weaken illustrates the age-old idea of a misunderstanding, which has been put to great effect in comedy films and, as we see, even the early days of silent filmmaking. Being brewed from the classic misrepresentation makes for cute innovation, for the time, as we find ourselves one step ahead of the character with each turn, right from the core misunderstanding in the very beginning. Throw in Lloyd's incredible facial acting and unbelievably talented physical comedy, and this is a conglomeration of true talent and innovation you can't help but cheer on through and through.

Starring: Harold Lloyd and Mildred Davis. Directed by: Fred Newmeyer and Sam Taylor.

This is one of Harold Lloyd's best shorts and the second of his thrill comedies (in chronological order) to be included in this collection. The film can be neatly divided into three sections: the first sees Harold ingeniously gathering patients for the despondent clinic where his beloved, Mildred Davis, works (and which probably influenced Lloyd's later feature FOR HEAVEN'S SAKE [1926]); the second, as was the case with many a Lloyd comedy, he goes through several failed attempts at suicide (when he mistakes Mildred's clergyman brother for her lover!); the last third - and the undeniable highlight - has the star up to his neck in trouble when he ends up high in the air on a construction site (featuring some of Lloyd's most incredible stuntwork, the whole idea was borrowed by Laurel & Hardy for the second half of one of their most popular Silent shorts, LIBERTY [1929]).

This is a very good Lloyd short, but in some ways it's like three totally different movie shorts grafted together. The overall effect, though, is excellent and this is a wonderful short.

The first portion consists of Harold trying to help his girlfriend keep her job as a receptionist for a chiropractor by, rather unscrupulously, drumming up business for them. Harold is a bit uncharacteristically cruel during these efforts, but I gotta admit they are still quite funny.

The second segment is also a bit uncharacteristic, as Harold mistakenly thinks his girl loves another so he tries repeatedly to kill himself. This is pretty maudlin and I felt just a tiny bit uneasy laughing at suicide.

However, it then transitioned from this into a live-action version of a Sweet Pea and Popeye cartoon. You know, the one where the baby climbs onto a high-rise under construction and nearly gets killed again and again and again. Harold Lloyd handles these stunts very deftly and the film ends when he is saved and he learns that his girl not only wants to marry him but the guy she was talking to earlier turned out to be her brother--the preacher! A cute film.

I was flipping through the channels last night and noticed a Harold Lloyd marathon on AMC. His granddaughter Suzanne has rereleased many of his films and was on the channel talking about the careers of her grandfather and grandmother (Mildred Davis, "the girl" in this film). The characters are sweet and loving and Harold Lloyd comes off as the lovelorn and innocent boy whose greatest wish is to marry his sweetheart. When he thinks she is in love with another, he plans to kill himself rather than live without her. Attempted suicide has never been so funny. Especially hilarious is the painstaking care he takes in writing the suicide note. My children (ages 5, 10, and 13) were so amused by Lloyd's antics that I was amazed. They never thought that silent films could be so expressive and funny. I love the fact that this art form is appreciated and shown on television for all to see and fall in love with all over again.