LAUGHING WITH LLOYD

Sun (Auckland), Volume III, Issue 872, 16 January 1930, Page 15

LAUGHING WITH LLOYD

FIRST-CLASS COMEDY AT THE STRAND BARBARA KENT’S SUCCESS Definitely and convincingly, Harold L.oyd has proved that a talkie can provide an excellent vehicle for comedy work. “Welcome Danger/' his first speaking film, which opened at the Strand last evening, is definitely one of the greatest laughter-makers he has ever produced. Released under the banner of Paramount, “Welcome Ranger,” moreover, must rank among that firm’s best sound and speech pictures to elate. Its screening time is fully two hours, and last evening there was room for only one supporting film. The remaining period was filled with laughter—laughter that came in chuckles, bursts, and roars. The amazing feature of the film was that there was no relief in the shape of pathos or serious drama. Lloyd achieved the impossible by causing his audience to . laugh hilariously and continuously through scene after scene, and reel after reel. Were it a silent film, “Welcome Ranger” would be delightful, as much of the merriment comes from the dumb-show, and typical antics and gags of the star. In sound and speech it becomes doubly interesting, and Lloyd’s voice mokes its screen debut in most favourable circumstances. He speaks as one might expect a cheerful, goggle-eyed American comedian to speak, and although it is obvious that he has yet to perfect his new medium of expression by gaining full value from turns of expression, his dialogue is already neat and effective. On the star’s right hand is Barbara Kent, a charming little leading woman who works hard throughout the picture, and thoroughly deserves the praise that has been lavished on her. Lloyd is noted for the number of famous feminine leads who have passed through his pictures as comparatively obscure players—Bebe Raniels is a case in point—but it may be said with safety that he has never secured the services of a more promising or attractive actress than the sadly bustled heroine of his first talkie. The story of “Welcome Ranger” winds through sequence after sequence of pure, imaginative fun. From the beginning, when Lloyd steps off a train, and is deposited by a bucking cow at the feet of his lady-love, the fun is fast and furious. After a delicious camping episode, the action shifts to San Francisco’s Chinatown, Lloyd reappearing as a young detective with a positive craze for the study of fingerprints. He is joined by a particularly stupid and consequently utterly delightful policeman, excellently played by a comedy foil who really knows his business. Then comes a chase after dopesmugglers, resulting in a series of hair-raising but always intensely funny adventures, in which Lloyd wins through by “fool’s luck.” His arrest of the hold-up man by popping an electric lamp behind that worthy, then thrusting the butt of a fountain pen into his ribs and shouting “Hands up!”; his securing of a noted reformer’s fingerprints by cutting a piece out of the innocent victim’s hat; -his unique method of persuading a girl to hug and kiss him repeatedly, and i with enthusiasm (much too good to be explained); his placating of the crying baby by utilising the snores of a sleeping traveller; his vanquishing of Ja negro giant by kicking him on the

shins . . . All these, and many, many more, are high-lights in a comedy that becomes really threatening to both throat and ribs. Technically, the picture is excellent. The speaking is clear and well chosen, the sounds are realistic, and neither sound nor speech is allowed to overshadow the action, and thus slow down the tempo of the piece. In some uncanny way, Lloyd appears to have anticipated the moments when laughter will reign, with the result that comparatively little is missed when the reproduction is drowned in mirthful roars. A Pathe Gazette, containing many beautiful scenes, completes a programme that should prove one of the Strand’s best comedy draw-cards of } this or any other season.