Grandma's Boy

GRANDMA'S BOY is among the first silent comedies that focus on characterization. It is also Lloyd's breakthrough picture which set him on the rank of Chaplin and Keaton and we can easily see why. It's full of tightly linked, ingenious gags( even where he put his hat would serve as a link to later action ). It also keeps some acrobatic movements that reminds us of Lloyd's 2 reeler days. It has a strong story line, and consistent plot development and delicate performance from Lloyd as well. The Grandpa's Civil war episode is truly funny.

Blossom Bend is a small leisurely place. Harold (Harold Lloyd) is a meek, modest, and retiring 19 year old. He's in love with Mildred although he faces his Rival at every turn. He's raised by his loving grandma. No matter how much he's bullied since childhood, he never fights back. The latest is a dirty volatile tramp. The sheriff leading a mob arrives looking to apprehend the tramp for robbery and murder. Harold volunteers for the posse although he doesn't have the courage to do the job until his grandma gives him his grandpa's magic charm which he got during the war.

This is a fun little feature from Lloyd. Personally, I thought it was brave not to hit back as a little kid and it was kindness to give the other kid his food. Obviously, I don't want him to hide under his cover in fear. There are some great car chase stunts. It's plenty funny and I like the character. It's a solid silent era comedy.

Harold Lloyd's first great feature pits him in his ideal homespun setting with a simple and archetypal plot in which the mild-mannered Boy gradually learns to overcome his cowardice - with the help of his loving grandmother - to become the toast of the town; in this respect, it predates the star's more celebrated THE FRESHMAN (1925) in being, above all, character-driven (with a dash of sentimentality). That said, perhaps the film's most hilarious scene is a typical one in which both Lloyd and his rival for the affections of leading lady Mildred Davis unwittingly mistake moth-balls from Lloyd's ancient costume (which had belonged to his grandfather) for sweets.

It's climaxed, however, by three lengthy and impressive set-pieces: the Civil War feat of the hero's grandfather (also played by Lloyd and remarkably anticipating Keaton's THE GENERAL [1927]); the chase leading up to the capture of the town bully by the newly-brave Lloyd (brought about by the presence of a Zuni doll - more than 50 years before such an artifact would achieve immortality via the classic made-for-TV compendium TRILOGY OF TERROR [1975]!); and our hero's settling of accounts with his mean-spirited rival, which features some rather physical tussling for this kind of film. As ever with Lloyd, apart from providing the requisite attention to gag structure and the creation of atmosphere, the film results in being quite technically proficient.

Harold Lloyd once said the number one favorite movie of his was "Grandma's Boy." Part of the reason was the script was intended to tone down the 'thrill' aspect of the comedian's trademark routines and insert some 'heart' into the plot. But once producer Hal Roach saw the rough cut, he advised the actor, "Harold, you're a comic, you've got to get laughs. Let's go back." And he did.

Lloyd plays a rather timid grandson to his kindly nana, Anna Townsend. After seeing him getting constantly picked on, especially by the town bully who's aiming for Lloyd's girlfriend, grandma gives him a charm she claims her husband, who fought in the Civil War and was a coward, gave him confidence to capture a group of Union officers. Harold takes the charm and begins his quest to apprehend a dangerously strong vagrant who is terrorizing his town.

Despite the extension of a 30-minute script, Charlie Chaplin absolutely loved the entire feature film. He gave it one of his ultimate praises, saying "It is one of the best constructed screenplays I have ever seen on the screen."

"Grandma's Boy" is an entertaining Harold Lloyd comedy that combines plenty of his usual slapstick antics with some thoughtful, if simple, ideas that add another dimension. Lloyd's character is more sympathetic than usual, and the story is funny, includes some good action, and is occasionally reflective. While it does not have any dazzling sequences (such as in "Safety Last"), it succeeds quite well on its own level.

Lloyd gives a good performance as always, with his hapless but earnest character. The rest of the cast helps out as well. Charles Stevenson is suitably overbearing as Lloyd's rival, Mildred Davis is likable as his girlfriend, and Anna Townsend is believable as his grandmother, determined to help out her boy. The amusing story that she tells about Harold's grandfather is one of the highlights, and it is used quite well in the plot.

The rest of the story is good as well, and all in all this is an enjoyable little feature.