Even though I had enjoyed several of Lloyd's films, I never really looked at him as being on the same level as Keaton. That's changed after seeing "The Kid Brother." The last half hour is as entertaining as anything on film. Harold's resourcefulness while fighting is a thing to behold! And the monkey with the shoes? Fantastic!
40 Reviews
The best of the Harold Lloyd comedies...simply wonderful...
Doylenf28 January 2007
I kept thinking how he deserves recognition as one of the great silent comedians alongside Buster Keaton and Charlie Chaplin--especially with his wonderful work in the well-crafted THE KID BROTHER.
The simple plot has him as the youngest and rather nerdy kid brother with his two strapping brothers towering over him as the apple of their father's eyes. Whenver something has to be done, he's left out of the picture while his father assigns his brothers to the task.
But the funniest scenes have to do with him trying to outwit and pull fast tricks on his brothers in a series of sight gags. They're perfectly willing to bully him whenever a show of muscle is involved--particularly when impressing a girl they all have a yen for.
There are too many sight gags to enumerate here and they all involve physical dexterity and timing of the highest order. A particularly demanding set of stunts are performed in the latter half of the story when our hero must board a ghost ship to retrieve money his father has been accused of stealing. The scenes involve a monkey in a sailor suit and a vicious villain out for the kill in keeping hold on stolen money.
All of it is photographed with great style and there's an emotional attachment to the romantic angle involving the girl (JOBYNA RALSTON) so that the hectic comedy is anchored by a story that keeps the comedy on firm ground.
Summing up: A delightful physical comedy, wonderfully photographed and played by an excellent cast, with Lloyd at his all-time best. In my opinion, this one tops SAFETY FIRST.
The simple plot has him as the youngest and rather nerdy kid brother with his two strapping brothers towering over him as the apple of their father's eyes. Whenver something has to be done, he's left out of the picture while his father assigns his brothers to the task.
But the funniest scenes have to do with him trying to outwit and pull fast tricks on his brothers in a series of sight gags. They're perfectly willing to bully him whenever a show of muscle is involved--particularly when impressing a girl they all have a yen for.
There are too many sight gags to enumerate here and they all involve physical dexterity and timing of the highest order. A particularly demanding set of stunts are performed in the latter half of the story when our hero must board a ghost ship to retrieve money his father has been accused of stealing. The scenes involve a monkey in a sailor suit and a vicious villain out for the kill in keeping hold on stolen money.
All of it is photographed with great style and there's an emotional attachment to the romantic angle involving the girl (JOBYNA RALSTON) so that the hectic comedy is anchored by a story that keeps the comedy on firm ground.
Summing up: A delightful physical comedy, wonderfully photographed and played by an excellent cast, with Lloyd at his all-time best. In my opinion, this one tops SAFETY FIRST.
You Can't Keep a Kid Brother Down
evanston_dad15 November 2017
Harold Lloyd lives on a ranch with his father and two older brothers, and he's never allowed to join in what they perceive to be man's business, because he's just a squirt. Well no one calls Lloyd a squirt and gets away with it for long.
"The Kid Brother" was by all accounts one of Lloyd's personal favorites, and it also took longer to make than most of his other films. It's not one of my personal favorites -- I like the more physical Lloyd comedies that allow him to show off his athleticism and derring do. But for Lloyd fans, or fans of silent comedy in general, there's a lot to like here.
Grade: B
"The Kid Brother" was by all accounts one of Lloyd's personal favorites, and it also took longer to make than most of his other films. It's not one of my personal favorites -- I like the more physical Lloyd comedies that allow him to show off his athleticism and derring do. But for Lloyd fans, or fans of silent comedy in general, there's a lot to like here.
Grade: B
A Masterpiece!!
gelatoflo19 October 2000
THE KID BROTHER should be the film Lloyd to be remembered by. No matter how many times you watch it, you can always find something you did not notice previously. The structure of the film is something to be marveled at. It is so delicately built that every frame, even every prop serves a purpose for either characterization or as link between gags, or both. Even the tilt of the abandoned ship serves toward the end of the movie. The film is so beautifully shot that it has an idyllic quality. It also has a really great plot and even greater sight gags. And Lloyd's acting is beyond praise. The film itself is a masterful blend of great comedy and sentiments. Definitely one of the best silent films ever made.
One Of The All-Time Classics
Ron Oliver20 December 1999
All silent movie buffs know about Chaplin's THE GOLD RUSH and Keaton's THE GENERAL. Strangely, THE KID BROTHER has been almost forgotten, which is a shame, as it is Harold Lloyd's masterpiece.
Better known for the "human fly" sequence in SAFETY LAST, it is in THE KID BROTHER that Harold reaches the top level of silent comedy stardom, alongside Chaplin & Keaton.
The story is a Western, set mostly on the ranch where Harold lives with his burly sheriff father and two older brothers. There's a dumb bully down the road, a very pretty young lady, a traveling medicine show and a nasty, bald bad guy. I don't want to give away any of the plot, but suffice it to say that Harold gets to showcase his famous athletic agility and there is a very complex & satisfying final showdown with Mr. Bad Guy at the climax.
For pure romanticism, however, there are few scenes in any silent film that can beat the one where Harold climbs a tree, ever higher, for one more glimpse of the very pretty young lady. It's about as sweet as they come...
Better known for the "human fly" sequence in SAFETY LAST, it is in THE KID BROTHER that Harold reaches the top level of silent comedy stardom, alongside Chaplin & Keaton.
The story is a Western, set mostly on the ranch where Harold lives with his burly sheriff father and two older brothers. There's a dumb bully down the road, a very pretty young lady, a traveling medicine show and a nasty, bald bad guy. I don't want to give away any of the plot, but suffice it to say that Harold gets to showcase his famous athletic agility and there is a very complex & satisfying final showdown with Mr. Bad Guy at the climax.
For pure romanticism, however, there are few scenes in any silent film that can beat the one where Harold climbs a tree, ever higher, for one more glimpse of the very pretty young lady. It's about as sweet as they come...
A silent masterpiece of comedic timing.
robert-elliott723 January 2004
While this is not one of Lloyd's most famous films, It is certainly one of his best. You can look through countless numbers of comedy films (The Gold Rush and The General included)and you will struggle to see better timing than that on display here. That is not a put down to those two classic comedies it is only a testament to the timing of Lloyd, Who was certainly on a par with Chaplin and Keaton. In this movie he plays the weakling in a family with two strapping brothers and a large hard to please father. Always put upon Harold has to capture a villain by himself to gain the respect of his father and brothers, And win the heart of his fair maiden. The amount of sight gags crammed into this 80 minutes is incredible, and the timing is as I said earlier is absolutely perfect.
O Brother, Where Art Thou?
sol-16 September 2017
Timid and always in the shadow of his older brothers, the youngest son of a sheriff gets a chance to prove his worth when thieves come to town in this Harold Lloyd comedy. As has been noted by others, the basic plot is hardly original, in many ways a rerun of what we have seen before with Lloyd in 'Grandma's Boy'. This is a far funnier motion picture though and the gags always feel like an organic part of the tale and character progression, whereas the earlier Lloyd film is more a series of skits. At 'The Kid Brother''s most amusing, Lloyd's two nightgown-clad brothers try unsuccessfully to hide when he brings a girl home unannounced at night. This subplot becomes even funnier when morning comes round and they keep trying to romance Lloyd's new girlfriend, unaware that she has already left and it is just Lloyd left behind the bed sheets hanging in his quarters. The film is also blessed with some excellent camera-work for the era (a crane shot that travels up a tree), but if there is one aspect that lets the film down, it is an over-reliance on dialogue with the title cards breaking up the intimacy of the action on more than one occasion. Most of 'The Kid Brother' is very good news though, spinning a tight and cohesive narrative a la 'The Freshman'. Lloyd is also as great as one would expect, though a monkey in the final quarter pretty much steals the show.
a wonderful and well-crafted film
planktonrules14 June 2005
In some ways it's a shame that Harold Lloyd is so associated with the film Safety Last. This is not because it is a bad film (in fact it's one of his better ones) but because it represents a style of film that is based almost completely on physical humor, whereas his best films also included significantly more plot, exceptional cinematography and a lot of heart.
Among my favorites is THE KID BROTHER. It is very funny at times, but all the humor takes a back seat to the plot involving Lloyd falling for Jobyna Ralston (as he had in many previous films). The camera work is just unbelievable and just goes to show that just because this is a silent film doesn't mean it wasn't a very artistic film. A funny, sweet, beautiful and memorable film! And, because of it's gorgeous and beautifully crafted scenes, it's highly reminiscent of the best of Chaplin's full-length films, such as CITY LIGHTS. This film certainly has a lot of heart and will shock anyone expecting slapstick.
So is THE KID BROTHER or THE FRESHMAN Lloyd's best film--it's hard to say. The FRESHMAN is more enjoyable and funny, but there is an elegance to THE KID BROTHER that help it transcend the genre--making it truly a work of art. As for me, I love them both and recommend you see them soon!
Among my favorites is THE KID BROTHER. It is very funny at times, but all the humor takes a back seat to the plot involving Lloyd falling for Jobyna Ralston (as he had in many previous films). The camera work is just unbelievable and just goes to show that just because this is a silent film doesn't mean it wasn't a very artistic film. A funny, sweet, beautiful and memorable film! And, because of it's gorgeous and beautifully crafted scenes, it's highly reminiscent of the best of Chaplin's full-length films, such as CITY LIGHTS. This film certainly has a lot of heart and will shock anyone expecting slapstick.
So is THE KID BROTHER or THE FRESHMAN Lloyd's best film--it's hard to say. The FRESHMAN is more enjoyable and funny, but there is an elegance to THE KID BROTHER that help it transcend the genre--making it truly a work of art. As for me, I love them both and recommend you see them soon!
Some nice moments, but not Lloyd's best
gbill-7487721 June 2019
As adorable as Harold Lloyd and Jobyna Ralston are, the premise to this one was less interesting to me than a lot of Lloyd's other films, and the physical comedy is just average, not the era's best (or even Lloyd's best). The action ratchets up in the last half hour with a fight scene that Lloyd would leverage from in 'Movie Crazy' five years later, and a wild horse ride that's pretty impressive, but thematically it's all drama at that point. The film is not actively bad or anything, and Lloyd fans will almost certainly like it more (as Lloyd himself did).
My favorite gag: In a small moment when Lloyd approaches a yard with a guard dog, to get around it, he whips a cat out and nonchalantly puts it up on a high fence pole to distract the dog. Favorite romantic moment: Lloyd climbing the tree when Ralston walks off down a hill, so he can keep waving and calling out to her; the camera ascends with him, which technically was a fine early use of a camera elevator, and the look on Ralston's face is very sweet. Favorite object: the stereograph photo viewer he amuses her with in the kitchen.
My favorite gag: In a small moment when Lloyd approaches a yard with a guard dog, to get around it, he whips a cat out and nonchalantly puts it up on a high fence pole to distract the dog. Favorite romantic moment: Lloyd climbing the tree when Ralston walks off down a hill, so he can keep waving and calling out to her; the camera ascends with him, which technically was a fine early use of a camera elevator, and the look on Ralston's face is very sweet. Favorite object: the stereograph photo viewer he amuses her with in the kitchen.
Possibly Harold Lloyd's best
kyle-cruse3 September 2008
Comedies like this simply are not made anymore. "The Kid Brother" has some of the most excellent timing of any comedy I've ever seen. Everything from the gag involving Lloyd tumbling out of a tree to the scenes with the monkey toward the end are simply hilarious. The plot is as typical as in any Harold Lloyd film, but that doesn't matter. All that makes these films as great as they are is the sense of timing and the brilliance of the comedy. Fans of Lloyd generally consider this to be his greatest film, and I would simply have to agree with that. Some of his other movies may tend to slow down until they get to a hilarious, climactic ending. The difference with this one is that it is much faster-paced and full of great comedy throughout. The gags in this film simply must be seen to realize how funny they are. You will laugh and laugh at this movie. One of the greatest comedies of all time. They just don't make them this funny anymore.
**** out of ****
**** out of ****
The Kid Brother
jboothmillard16 April 2018
Warning: Spoilers
I am a big fan of the famous silent movie stars Laurel and Hardy, Buster Keaton and Sir Charlie Chaplin, but I knew there was one star of the silent movies I had not seen, I found this, one of his most acclaimed pictures, in the book 1001 Movies You Must See Before You Die. Basically in the farming town of Hickoryville, the Hickorys are a respected family, but patriarch Sheriff Jim Hickory (Walter James) and his strong sons Leo (Leo Willis) and Olin (Olin Francis) have little respect for the youngest son, the bespectacled, clumsy and naïve Harold (Harold Lloyd). He is often neglected by his family, given the domestic duties, and not included in important matters either at the farm or in the town. One day, when Jim, Leo and Olin go to an important town meeting, Harold is left alone, for amusement he puts on his father's gun and badge. He is mistaken for being the sheriff by ruthless traveling medicine showman 'Flash' Farrell (Eddie Boland), he talks Harold into permitting him, strongman Sandoni (Constantine Romanoff) and dancer Mary Powers (Jobyna Ralston) perform. Mary is trying to avoid the unwanted attentions of Sandoni, she and Harold spend some time together, and they become attracted to each other. When Jim finds out Harold authorised the medicine show, he orders Harold to shut down the performance, Harold tries, but ends up being tricked and tied up. Harold's sworn enemy, town bully Hank Hooper (Ralph Yearsley), pelts him and accidentally starts a fire that consumes the medicine show wagon. Harold invites Mary to spend the night at his family home, he does not get permission to do so from his father, and he uses hit wits to overcome his bigger brothers, however Mrs. Hooper and her son Hank show up and take her with them. The next day, the town is celebrating, as Jim is handing over funds raised by the residents to help build a dam to a state official, however the money is gone. Jim strongly believes Farrell and Sandoni are responsible, but Sam Hooper (Frank Lanning) accuses Jim of the theft. Jim sends Leo and Olin, but not Harold, after them, when they return emptyhanded, Jim has been tied up, and there is talk of lynching. Harold confesses to Mary his unintentional deception, he is not the man she thought he was, but she tells him he has faith in him. Hank accuses Mary of being involved in the robbery, Harold fights back when some men grab her, only to have Harold knock him unconscious and set him adrift in a boat. Harold wakes up when the boat reaches an abandoned, beached ship, aboard the ship he finds the real thieves. Sandoni and Farrell argue over the division of the loot, with the strongman eventually disposing of the medicine man, then Sandoni spots Harold and chases him all over the ship. Harold eventually manages to outdo the strongman and races back to town with his prisoner and the money to save his father. Jim is impressed with Harold, saying "Son, you're a real Hickory", Hank stands in the way of him and Mary walking away, but Harold musters up the courage to fight his nemesis and beat him up. I had only previously seen Lloyd in the famous image of him hanging from a clock, from Safety Last!, he is a very good physical comedian, I will admit I did not follow all elements of the story, but it did not matter, as the slapstick and sight gags were funny, it is a worthwhile silent comedy. Very good!
THE KID BROTHER (Ted Wilde, J. A. Howe and, uncredited, Lewis Milestone, 1927) ****
Bunuel197621 December 2006
Arguably Harold Lloyd's greatest film, made contemporaneously with Buster Keaton's equivalent, THE GENERAL (1927); interestingly, while the former was a box-office hit, the latter's reception was more lukewarm - its reputation having been cemented (indeed vindicated) with time; ultimately, while THE KID BROTHER may lack the scope of Keaton's masterwork, it's no less meticulously crafted or well filmed. Still, it's not quite as renowned as other Lloyds - such as SAFETY LAST! (1923) or THE FRESHMAN (1925) - which actually makes its discovery as an unequivocal gem, not only in the pantheon of comedy but among the finest productions of the Silent era, all the more sweeter!
The plot was admittedly borrowed from the famous Silent melodrama TOL'ABLE David (1921) - which I've never watched myself - but, like THE GENERAL, it seamlessly mingles dazzling comic invention with a serious (a sure indication of this is the fact that it dispenses entirely with Lloyd's typically sarcastic title cards), compelling and exciting plot line; in this case, Harold (again, like Keaton's rejected soldier) has to prove he's the equal of his stalwart family by standing up to the villain - a sinister-looking medicine-show strongman - and recover a cache of stolen money, thus righting a wrong done his father (largely at the instigation of his eternal rival - the long-lasting family feud had also been utilized by Keaton for one of his most beautiful films, OUR HOSPITALITY [1923]).
It's quite futile to mention individual gags from the film because it has a plethora of them, all being incredibly clever (apart from hilarious) and are milked for all they're worth - generally so as to play up to the resourcefulness of our hero. As a matter of fact, the film rarely pauses for breath between one set-piece and the next - while the last half-hour (largely confined to an offshore boat) is thrillingly packed with intense action and suspense, as it speeds towards a happy resolution of all its various plot strands. Jobyna Ralston is once again Lloyd's leading lady here; actually, this proved to be their last collaboration.
I've failed to mention before now the invaluable contribution which the scores by either Carl Davis or Robert Israel have contributed to these Silent films, but Davis' sterling work here (composed for Kevin Brownlow's Photoplay re-issue of 1990) is particularly effective. By the way, the film was started by Lewis Milestone but had to step down from the director's chair due to a contractual dispute; it was taken over by Ted Wilde but even he was replaced (by J.A. Howe) at some later point after he was struck by an illness; this led to the film's shooting schedule extending to a six-month period - but all these various calamities, thankfully, didn't affect the ultimate quality of THE KID BROTHER one bit!
P.S. The film was partly shot on the spot where Forest Lawn cemetery (where many a Hollywood star is buried) was eventually built - and which happens to be located near the Universal studio offices that host the New York Film Academy classes I attended last year!
The plot was admittedly borrowed from the famous Silent melodrama TOL'ABLE David (1921) - which I've never watched myself - but, like THE GENERAL, it seamlessly mingles dazzling comic invention with a serious (a sure indication of this is the fact that it dispenses entirely with Lloyd's typically sarcastic title cards), compelling and exciting plot line; in this case, Harold (again, like Keaton's rejected soldier) has to prove he's the equal of his stalwart family by standing up to the villain - a sinister-looking medicine-show strongman - and recover a cache of stolen money, thus righting a wrong done his father (largely at the instigation of his eternal rival - the long-lasting family feud had also been utilized by Keaton for one of his most beautiful films, OUR HOSPITALITY [1923]).
It's quite futile to mention individual gags from the film because it has a plethora of them, all being incredibly clever (apart from hilarious) and are milked for all they're worth - generally so as to play up to the resourcefulness of our hero. As a matter of fact, the film rarely pauses for breath between one set-piece and the next - while the last half-hour (largely confined to an offshore boat) is thrillingly packed with intense action and suspense, as it speeds towards a happy resolution of all its various plot strands. Jobyna Ralston is once again Lloyd's leading lady here; actually, this proved to be their last collaboration.
I've failed to mention before now the invaluable contribution which the scores by either Carl Davis or Robert Israel have contributed to these Silent films, but Davis' sterling work here (composed for Kevin Brownlow's Photoplay re-issue of 1990) is particularly effective. By the way, the film was started by Lewis Milestone but had to step down from the director's chair due to a contractual dispute; it was taken over by Ted Wilde but even he was replaced (by J.A. Howe) at some later point after he was struck by an illness; this led to the film's shooting schedule extending to a six-month period - but all these various calamities, thankfully, didn't affect the ultimate quality of THE KID BROTHER one bit!
P.S. The film was partly shot on the spot where Forest Lawn cemetery (where many a Hollywood star is buried) was eventually built - and which happens to be located near the Universal studio offices that host the New York Film Academy classes I attended last year!
Bucolic and brutish
doorholder28 January 2015
I'd only seen bits of The Milky Way and The Sin of Harold Diddlebock prior to this, and those don't really count, so it's safe to say that this is the first all-caps HAROLD LLOYD movie I've ever seen. I thought it was interesting how the whole movie felt like it could have been conceived by a slapstick loving version of Joseph Campbell with a daddy complex. It's such a naive and fun take on the hero's journey. I guess today's lovable goof would need to have some vaguely creepy or sexual element a la The 40 Year Old Virgin or something. I say this because I just don't see audiences these days going in for something as innocent and big-hearted as the conceit of trying endlessly to please one's father. It's a weird thing to be sure, especially when tied intrinsically to a romance angle wherein he can only become a man by winning the admiration of a (very gorgeous) lass at the same time as his dad, but that's what kept me invested, I guess. It's almost too personal to just be comedic. It's also got a surprising number of good looking shots. I don't know why gags like tears turning into rain or a pig wearing a bowler hat on its back are so freaking funny and bizarre, either. I also don't know if it is just a century's remove that made the last third a bit tedious, but it didn't ruin the overall film for me and I quite liked getting to see the twerp becoming a dude!
Not nearly as good as his earlier work
guy-723 May 2002
What a disappointment! Compared with SAFETY LAST or the witty and charming GIRL SHY, this is a retreat to the crude slapstick of the one-reelers.
The last episode of GIRL SHY was so good it was copied decades later in the GRADUATE, but there is nothing worth copying here. The old gag about hiding behind the body of a horse is recycled, and the washing up routines are lifted from Keaton's THE NAVIGATOR. Neither are there any magic moments here such as the Shakespearean bust of Lloyd in GIRL SHY.
Most reviewers give this 4 stars - just goes to show they don't know their job.
The last episode of GIRL SHY was so good it was copied decades later in the GRADUATE, but there is nothing worth copying here. The old gag about hiding behind the body of a horse is recycled, and the washing up routines are lifted from Keaton's THE NAVIGATOR. Neither are there any magic moments here such as the Shakespearean bust of Lloyd in GIRL SHY.
Most reviewers give this 4 stars - just goes to show they don't know their job.
Very Entertaining & Very Imaginative
Snow Leopard19 December 2005
Even by Harold Lloyd's high standards, this is one of his most entertaining and most imaginative movies. It combines humor and melodrama very well, and it is particularly rich in sight gags, again even by Lloyd's standards. Lloyd has a character that is well suited to his style, and he adds some impressive stunts as well.
As "The Kid Brother", Lloyd's character is the put-upon son of a tough sheriff, with two older, domineering brothers. The story has Harold involved romantically with Jobyna Ralston, who comes to town with a traveling medicine show that the sheriff is trying to shut down. There is also a large sum of money that has been collected for a new dam, and entrusted to the sheriff. There is a lot going on, and Lloyd's character faces challenges and difficulties both from his family and from the villains in the medicine show.
The efforts of Lloyd's character to win the respect of his family give the plot some depth that complements the comedy and melodrama well. The action sequences often combine stunts, drama, and visual comedy at the same time, and there are just enough thoughtful moments to keep the important characters from becoming flat. Constantine Romanoff makes a memorable villain, and the lengthy showdown in the old abandoned ship is a wonderful set piece with lots of interesting details.
It's well worth watching a number of times, in order to catch and enjoy everything that Lloyd and the rest of the cast and crew have packed into less than an hour and a half of running time. How fortunate it is that this and Lloyd's other gems have finally come out on DVD for all of us silent movie fans to enjoy.
As "The Kid Brother", Lloyd's character is the put-upon son of a tough sheriff, with two older, domineering brothers. The story has Harold involved romantically with Jobyna Ralston, who comes to town with a traveling medicine show that the sheriff is trying to shut down. There is also a large sum of money that has been collected for a new dam, and entrusted to the sheriff. There is a lot going on, and Lloyd's character faces challenges and difficulties both from his family and from the villains in the medicine show.
The efforts of Lloyd's character to win the respect of his family give the plot some depth that complements the comedy and melodrama well. The action sequences often combine stunts, drama, and visual comedy at the same time, and there are just enough thoughtful moments to keep the important characters from becoming flat. Constantine Romanoff makes a memorable villain, and the lengthy showdown in the old abandoned ship is a wonderful set piece with lots of interesting details.
It's well worth watching a number of times, in order to catch and enjoy everything that Lloyd and the rest of the cast and crew have packed into less than an hour and a half of running time. How fortunate it is that this and Lloyd's other gems have finally come out on DVD for all of us silent movie fans to enjoy.
Lloyd's magnum opus
MissSimonetta14 March 2016
Warning: Spoilers
Chaplin had City Lights. Buster Keaton had The General. Though Safety Last may be more iconic (indeed one of the most iconic movies of all time), I think The Kid Brother (1927) is the best expression of Harold Lloyd's brand of silent comedy: warm, peppy, and breathless in pace.
This has to be one of the most tightly constructed movies ever. Other commenters have brought up how every shot, gag, and character is woven into the plot. There is not an extraneous shot in TKB. The gags are also uniformly excellent, not a dud in the bunch. More than his other features, Lloyd and his collaborators balance comedy and drama with seemingly effortless grace. Even when the story has brushes with dark material (ex. lynchings, stalking), it does not feel jarring.
The character types who appear again and again in Lloyd's comic universe are here perhaps in their purest form: Jobyna Ralston as the love interest is at her most sweet and charming (in her last appearance opposite Lloyd), Walter James (who appeared as the intimidating father of Buster Keaton's love interest in Battling Butler the year before) is gruff but noble as Lloyd's estranged father, and the villains-- by God, the villains are terrifying here! The climactic chase/fight in the sunken ship succeeds not only due to the great choreography and Lloyd's physicality, but also Constantine Romanoff as the brutish Sardoni. When he throws Harold across the room, you can practically feel the bruises forming before he even lands!
TKB also showcases Lloyd not only as a comedian, but as a performer in general. As an actor, he is the polar opposite of the reserved Buster Keaton; not to say Keaton is inexpressive (he was anything but), but Lloyd plays far more extroverted types, go-getters. Some say he mugs, but I think his expressions are among his best traits, a little exaggerated but hilarious. He oozes screen charm, all jaunty youthful energy so perfect for the optimism of the 1920s. Despite being in his thirties when this movie was made, Lloyd could still play eighteen and does it so well, channeling the insecurities that come from feeling you don't measure up to everyone else, trying to find yourself. He plays the emotional scenes well; nothing as powerful as the weeping scene in The Freshman, but still impressive.
Overall, this is a masterpiece. Tight, funny, and with a happy ending which may or may not have you crying a little. What else could you want from a comedy?
This has to be one of the most tightly constructed movies ever. Other commenters have brought up how every shot, gag, and character is woven into the plot. There is not an extraneous shot in TKB. The gags are also uniformly excellent, not a dud in the bunch. More than his other features, Lloyd and his collaborators balance comedy and drama with seemingly effortless grace. Even when the story has brushes with dark material (ex. lynchings, stalking), it does not feel jarring.
The character types who appear again and again in Lloyd's comic universe are here perhaps in their purest form: Jobyna Ralston as the love interest is at her most sweet and charming (in her last appearance opposite Lloyd), Walter James (who appeared as the intimidating father of Buster Keaton's love interest in Battling Butler the year before) is gruff but noble as Lloyd's estranged father, and the villains-- by God, the villains are terrifying here! The climactic chase/fight in the sunken ship succeeds not only due to the great choreography and Lloyd's physicality, but also Constantine Romanoff as the brutish Sardoni. When he throws Harold across the room, you can practically feel the bruises forming before he even lands!
TKB also showcases Lloyd not only as a comedian, but as a performer in general. As an actor, he is the polar opposite of the reserved Buster Keaton; not to say Keaton is inexpressive (he was anything but), but Lloyd plays far more extroverted types, go-getters. Some say he mugs, but I think his expressions are among his best traits, a little exaggerated but hilarious. He oozes screen charm, all jaunty youthful energy so perfect for the optimism of the 1920s. Despite being in his thirties when this movie was made, Lloyd could still play eighteen and does it so well, channeling the insecurities that come from feeling you don't measure up to everyone else, trying to find yourself. He plays the emotional scenes well; nothing as powerful as the weeping scene in The Freshman, but still impressive.
Overall, this is a masterpiece. Tight, funny, and with a happy ending which may or may not have you crying a little. What else could you want from a comedy?
One of the best films ever made!
JohnHowardReid11 January 2018
Warning: Spoilers
Copyright 18 January 1927 by The Harold Lloyd Corporation (general manager: William R. Fraser). Released through Paramount: 22 January 1927. New York opening at the Rialto: 23 January 1927. 7,654 feet. 83 minutes.
NOTES: Locations filmed on Catalina Island and near Alacentia, California.
SYNOPSIS: Unusually for a Lloyd movie, there is only one sarcastic sub-title. Significantly, it's the card that introduces the title character himself: The runt of the litter, this kid brother was delivered by a stork that was laughing so heartily it could hardly fly.
COMMENT: One of the best films ever made, The Kid Brother is a wonderful movie that has everything: beautiful direction, inventive photography, an engrossing plot, superb acting and out-of-the-box production values. (And thanks to Carl Davis, it now has a heart-tapping music score as well). To quote from a few of the many enlightened contemporary reviews. The critic for The New York Herald Tribune made the sage comment that "Mr Lloyd never repeats himself. This movie is filled with more things than are dreamt of in your philosophy..." Variety noted that "Lloyd is somewhat different in this picture, yet it is about as gaggy a gag picture as he has ever done. Jobyna Ralston also handles herself perfectly, while Walter James has a chance to show what he can do in a major part and acquits himself with honors." The Film Daily agreed that "the Lloyd comedies are always dependably original. Lloyd and his gag-men have again devised a corking set of comedy situations that fit consistently into a well-joined plot with the result that the laughs keep building from little chuckles to hilarious roars." What I like about this enchanting movie is that it's not only uproariously funny, but supremely beautiful to watch. Like all really good films, it's one that can be enjoyed, savored and appreciated time and time again with absolutely no lessening of its total enthrallment. When asked to name his best film, Lloyd once replied, "That's something for the critics. But my favorite film? The Kid Brother."
AVAILABLE on DVD through New Line. Quality rating: Ten out of ten.
NOTES: Locations filmed on Catalina Island and near Alacentia, California.
SYNOPSIS: Unusually for a Lloyd movie, there is only one sarcastic sub-title. Significantly, it's the card that introduces the title character himself: The runt of the litter, this kid brother was delivered by a stork that was laughing so heartily it could hardly fly.
COMMENT: One of the best films ever made, The Kid Brother is a wonderful movie that has everything: beautiful direction, inventive photography, an engrossing plot, superb acting and out-of-the-box production values. (And thanks to Carl Davis, it now has a heart-tapping music score as well). To quote from a few of the many enlightened contemporary reviews. The critic for The New York Herald Tribune made the sage comment that "Mr Lloyd never repeats himself. This movie is filled with more things than are dreamt of in your philosophy..." Variety noted that "Lloyd is somewhat different in this picture, yet it is about as gaggy a gag picture as he has ever done. Jobyna Ralston also handles herself perfectly, while Walter James has a chance to show what he can do in a major part and acquits himself with honors." The Film Daily agreed that "the Lloyd comedies are always dependably original. Lloyd and his gag-men have again devised a corking set of comedy situations that fit consistently into a well-joined plot with the result that the laughs keep building from little chuckles to hilarious roars." What I like about this enchanting movie is that it's not only uproariously funny, but supremely beautiful to watch. Like all really good films, it's one that can be enjoyed, savored and appreciated time and time again with absolutely no lessening of its total enthrallment. When asked to name his best film, Lloyd once replied, "That's something for the critics. But my favorite film? The Kid Brother."
AVAILABLE on DVD through New Line. Quality rating: Ten out of ten.
Harold Lloyd's Proudest Film
springfieldrental26 March 2022
A revolving door of film directors was taking place in the creation of one of Harold Lloyd's most admired film, January 1927's "The Kid Brother." First, Lewis Milestone sat in the director's chair and began the production about the youngest (Lloyd) of three brothers, sons of the town sheriff. Harold's looked down by the other two brothers and the dad as a wimp. Since Milestone was under contract by another studio, he had to pull out on it called him to work on one of its films. Then came Ted Wilde. The gag writer for Lloyd directed a few scenes before he was stuck down with a minor stroke. Wilde gets the director's credit on the film. But in reality it was Lloyd who called most of the shots for camera placement, movement and scene structure.
"The Kid Brother" was the one film Lloyd, in his vast body of work, was most proud of. In his retirement, this was the movie he would show at film festivals and film school lectures. Loosely connected with a 1924 Hal Roach feature, 'The Whip Sheep," Lloyd's plot describes how, despite being portrayed as a wimp by his family and the townspeople, he singlehandedly pursues the thief who stole the village's tax money entrusted in his dad's hands for the payment of a nearby dam construction. At first his female admirer, Mary (Jobyna Ralston), was accused as part of a plot to steal the funds. But then Harold stumbles upon the real robber.
"The Kid Brother" differs from Lloyd's other feature films in a number of ways. The comic hired eight writers to draw up a plot that contained not only comedy, but romance, drama, and most important to him at this period of his career, character development. Adopting elements of Henry King's admired movie 1921 "Tol'able David," Lloyd's film uses a number of ingenious camera traveling shots to emphasize the movement of the plot. In one specific scene, when Harold first meets Mary, he's shown climbing a high tree, stopping periodically to yell something to her as she's walking away down a hill. A specially-constructed elevator was built to carry the camera as it follows Lloyd up the tree. There's no doubt "The Kid Brother" is one of Lloyd's most sophisticated shot movie in his portfolio.
This would be Ralston's final movie with Lloyd, ending a string of collaborations from 1924's "Girl Shy." Her next film was an appearance in the Academy Awards Most Outstanding Picture, 1927's "Wings." Ralston starred in another ten films. But her acting ended in 1932 when she decided to concentrate on her family after she married actor Richard Arlen, whom she met while making "Wings."
"The Kid Brother" was the one film Lloyd, in his vast body of work, was most proud of. In his retirement, this was the movie he would show at film festivals and film school lectures. Loosely connected with a 1924 Hal Roach feature, 'The Whip Sheep," Lloyd's plot describes how, despite being portrayed as a wimp by his family and the townspeople, he singlehandedly pursues the thief who stole the village's tax money entrusted in his dad's hands for the payment of a nearby dam construction. At first his female admirer, Mary (Jobyna Ralston), was accused as part of a plot to steal the funds. But then Harold stumbles upon the real robber.
"The Kid Brother" differs from Lloyd's other feature films in a number of ways. The comic hired eight writers to draw up a plot that contained not only comedy, but romance, drama, and most important to him at this period of his career, character development. Adopting elements of Henry King's admired movie 1921 "Tol'able David," Lloyd's film uses a number of ingenious camera traveling shots to emphasize the movement of the plot. In one specific scene, when Harold first meets Mary, he's shown climbing a high tree, stopping periodically to yell something to her as she's walking away down a hill. A specially-constructed elevator was built to carry the camera as it follows Lloyd up the tree. There's no doubt "The Kid Brother" is one of Lloyd's most sophisticated shot movie in his portfolio.
This would be Ralston's final movie with Lloyd, ending a string of collaborations from 1924's "Girl Shy." Her next film was an appearance in the Academy Awards Most Outstanding Picture, 1927's "Wings." Ralston starred in another ten films. But her acting ended in 1932 when she decided to concentrate on her family after she married actor Richard Arlen, whom she met while making "Wings."
The Heart Of Harold
slokes29 April 2015
Warning: Spoilers
You can't go wrong with self-confidence. This was Harold Lloyd's recipe for life, and the same holds true with the characters he plays. The best example of this is Harold Hickory in "The Kid Brother."
Harold is the youngest of three sons in the all-male Hickory clan who keep order in the town of Hickoryville. Harold desperately wants the approval of his father and brothers, but can't quite manage it. A new reason to shine comes in the form of beautiful dancer Mary (Jobyna Ralston), who rides into town with a medicine show. When Mary's partners steal the town treasury, it's up to Harold to save the day.
"The Kid Brother" isn't as iconic as "The Freshman" or "Safety Last," but it's right up there with the first and a good deal better than the other when it comes to showcasing the full range of Lloyd's cinematic talents. There are stunts and thrills and a big scary finish to keep an audience gasping between laughs, but the true beauty of the film is how well it sets up the sentimental side of Harold, which is where movie clowns often fall short.
Right away, we are told Harold is a bit of a town joke, born on April 1: "The stork that brought him could hardly fly for laughing." When we first see him, watching his father and brothers easily lift a great trunk, Lloyd's face reflects pride and chagrin. He can't measure up, his eyes tell us.
"You're too modest, but I like you for it." That's Mary talking to Harold, but it could as well be us for the way we are introduced to him. There are many laughs in this film, but what makes "The Kid Brother" stand up so well 90 years later is the craft of the production.
Even if he didn't take a director's credit, giving it instead to his ailing collaborator Ted Wilde and journeyman J. A. Howe, Lloyd's touch is both unmistakable and deft. An opening scene of a derelict boat on a sun-burnished bay not only introduces the dreamy, pastoral quality of the entire film, but sets the scene for where it all comes to an end, desperately and triumphantly, in 90 minutes.
That final battle in the "Black Ghost" is a masterpiece of pure cinema, and so is a scene of Harold waving goodbye to Mary by climbing a tree that never seems to stop rising - without the camera ever losing Mary in the ever-deepening background. Likewise, Harold gets maximum use from the intense physiognomy of co-star Constantine Romanoff, who plays the heavy Sandoni, but could just as easily be Nosferatu for the way he is shot. He presents a horrific adversary, yet he's not only overcome but literally becomes a vehicle for Harold's final triumph.
"The Kid Brother" doesn't have the greatest gags of silent cinema. Harold's rivalry with an annoying neighbor who tries to steal Mary away is more trope than plot point. The crisis of the stolen money is kind of introduced out of left field. But craft and charm count for a lot in comedy, and so does timing, all of which this movie gives you. I never laughed once when I watched the scene where Harold's two brothers are caught out in their nightshirts by a sudden visit from Mary, but I never stopped smiling. It's not just some good gags, but the way the camera moves from room to room, and the way light and shade are used to suggest lurking menace, just before the tables are turned yet again and Harold escapes fraternal punishment.
You watch other Harold Lloyd films and get blown away by the skill, the comedic chops, and the acrobatic daring he brought to the screen. "The Kid Brother" has a quieter, subtler power that only builds with repeat viewings. If it's not quite a masterpiece, it shows how a great screen comedy can be made.
Harold is the youngest of three sons in the all-male Hickory clan who keep order in the town of Hickoryville. Harold desperately wants the approval of his father and brothers, but can't quite manage it. A new reason to shine comes in the form of beautiful dancer Mary (Jobyna Ralston), who rides into town with a medicine show. When Mary's partners steal the town treasury, it's up to Harold to save the day.
"The Kid Brother" isn't as iconic as "The Freshman" or "Safety Last," but it's right up there with the first and a good deal better than the other when it comes to showcasing the full range of Lloyd's cinematic talents. There are stunts and thrills and a big scary finish to keep an audience gasping between laughs, but the true beauty of the film is how well it sets up the sentimental side of Harold, which is where movie clowns often fall short.
Right away, we are told Harold is a bit of a town joke, born on April 1: "The stork that brought him could hardly fly for laughing." When we first see him, watching his father and brothers easily lift a great trunk, Lloyd's face reflects pride and chagrin. He can't measure up, his eyes tell us.
"You're too modest, but I like you for it." That's Mary talking to Harold, but it could as well be us for the way we are introduced to him. There are many laughs in this film, but what makes "The Kid Brother" stand up so well 90 years later is the craft of the production.
Even if he didn't take a director's credit, giving it instead to his ailing collaborator Ted Wilde and journeyman J. A. Howe, Lloyd's touch is both unmistakable and deft. An opening scene of a derelict boat on a sun-burnished bay not only introduces the dreamy, pastoral quality of the entire film, but sets the scene for where it all comes to an end, desperately and triumphantly, in 90 minutes.
That final battle in the "Black Ghost" is a masterpiece of pure cinema, and so is a scene of Harold waving goodbye to Mary by climbing a tree that never seems to stop rising - without the camera ever losing Mary in the ever-deepening background. Likewise, Harold gets maximum use from the intense physiognomy of co-star Constantine Romanoff, who plays the heavy Sandoni, but could just as easily be Nosferatu for the way he is shot. He presents a horrific adversary, yet he's not only overcome but literally becomes a vehicle for Harold's final triumph.
"The Kid Brother" doesn't have the greatest gags of silent cinema. Harold's rivalry with an annoying neighbor who tries to steal Mary away is more trope than plot point. The crisis of the stolen money is kind of introduced out of left field. But craft and charm count for a lot in comedy, and so does timing, all of which this movie gives you. I never laughed once when I watched the scene where Harold's two brothers are caught out in their nightshirts by a sudden visit from Mary, but I never stopped smiling. It's not just some good gags, but the way the camera moves from room to room, and the way light and shade are used to suggest lurking menace, just before the tables are turned yet again and Harold escapes fraternal punishment.
You watch other Harold Lloyd films and get blown away by the skill, the comedic chops, and the acrobatic daring he brought to the screen. "The Kid Brother" has a quieter, subtler power that only builds with repeat viewings. If it's not quite a masterpiece, it shows how a great screen comedy can be made.
Diverting
rmax30482313 September 2015
Warning: Spoilers
Lloyd is the kid brother of three tough older men. He's the wimp who washes dishes and does other household chores until fate places him in a position to save a large stash of the community's money that was stolen by itinerant goniffs.
It's not a classic but it's amusing. Lloyd seems always to be pursued by others and many of the gags revolve around his various hiding places being uncovered -- sometimes by a very well-trained primate in the hands of a monkey wrangler.
Jobyna Ralston is winsome and pretty. The final confrontation between Lloyd and the gargantuan Romanoff is successfully rendered. Lloyd winds up with the girl.
It must take a different kind of skill -- an improved sense of the kinetic, overactive Golgi bodies, or something -- to make an effective silent comedy. Imagine -- none of the gags can depend on dialog.
It's not a classic but it's amusing. Lloyd seems always to be pursued by others and many of the gags revolve around his various hiding places being uncovered -- sometimes by a very well-trained primate in the hands of a monkey wrangler.
Jobyna Ralston is winsome and pretty. The final confrontation between Lloyd and the gargantuan Romanoff is successfully rendered. Lloyd winds up with the girl.
It must take a different kind of skill -- an improved sense of the kinetic, overactive Golgi bodies, or something -- to make an effective silent comedy. Imagine -- none of the gags can depend on dialog.
Movie Odyssey Review #037: The Kid Brother
Cyke6 August 2006
Warning: Spoilers
037: The Kid Brother (1927) - released 1/22/1927, viewed 2/16/06 BIRTHS: Eartha Kitt.
DOUG: I was quite surprised that I hadn't already heard of The Kid Brother, since it turned out to be my favorite Lloyd film. Turns out it was also Lloyd's favorite, not to mention the last with the lovely Jobyna Ralston, who would go on to star in Wings (which still isn't out on DVD! Grrr!). I'm going to miss her in Speedy. I noticed that between The Circus and The Cameraman, this film completes a kind of Silent Film Masters Monkey Trilogy, pairing Lloyd with a bothersome but resourceful capuchin in the climax. Lloyd's trademark go-getter attitude is never more evident than in this film, where his character really does have something to prove. It's quite heartbreaking when his father refuses to let him help find the bandits, telling him, "It could be dangerous," not realizing that the resourceful Harold will probably be more helpful than both Leo and Olin combined. Harold's journey to prove himself becomes quite compelling, and his relationship with Mary (Ralston) is that much more romantic for it. In several scenes, he manages to outsmart his gigantic stupid brothers by using his wits and ingenuity, while also warming up to Mary while the brothers run and hide. Those scenes show just a few of the film's many lengthy gag-filled set pieces, as the film is loaded to the brim with spectacular gags. The climactic ship sequence must be at least 20 minutes long, as Harold and the villain (who has already murdered his own partner) battle each other over every inch of the ship.
KEVIN: Many silent comedies include some sort of mistaken identity. From Keaton's The General to Lloyd's own Safety Last, there is often some variation of a nobody being mistaken for a somebody. And so it is here with our penultimate Harold Lloyd silent comedy, where Lloyd plays the black sheep in a family of prominent lawmen, until Mary (Ms. Ralston one last time) mistakes him for the real sheriff. Similar to The Freshman, Mary becomes supportive of Harold midway through the film, and it's through her support that he finds the courage to get back the stolen money when the town arrests his father for losing it. The extended scene on the boat is an effective mix of comedy and suspense, as the bag of stolen cash changes hands from Harold, the malicious robber, and a monkey. (So now Keaton, Chaplin and Lloyd have all done comedy scenes featuring monkeys.) I laughed every time Harold outwits the robber, and at the same time I was scared for him because we just saw the robber murder his partner over the money, which makes Harold seem even more heroic when he finally wins out.
Last film viewed: For Heaven's Sake (1926). Last film chronologically: Metropolis (1927). Next film viewed: Speedy (1928). Next film chronologically: The General (1927).
The Movie Odyssey is an exhaustive, chronological project where we watch as many milestone films as possible, starting with D.W. Griffith's Intolerance in 1916 and working our way through, year by year, one film at a time. We also write a short review for each and every film. In this project, we hope to gain a deeper understanding of the time period, the films of the era, and each film in context, while at the same time just watching a lot of great movies, most of which we never would have watched otherwise.
DOUG: I was quite surprised that I hadn't already heard of The Kid Brother, since it turned out to be my favorite Lloyd film. Turns out it was also Lloyd's favorite, not to mention the last with the lovely Jobyna Ralston, who would go on to star in Wings (which still isn't out on DVD! Grrr!). I'm going to miss her in Speedy. I noticed that between The Circus and The Cameraman, this film completes a kind of Silent Film Masters Monkey Trilogy, pairing Lloyd with a bothersome but resourceful capuchin in the climax. Lloyd's trademark go-getter attitude is never more evident than in this film, where his character really does have something to prove. It's quite heartbreaking when his father refuses to let him help find the bandits, telling him, "It could be dangerous," not realizing that the resourceful Harold will probably be more helpful than both Leo and Olin combined. Harold's journey to prove himself becomes quite compelling, and his relationship with Mary (Ralston) is that much more romantic for it. In several scenes, he manages to outsmart his gigantic stupid brothers by using his wits and ingenuity, while also warming up to Mary while the brothers run and hide. Those scenes show just a few of the film's many lengthy gag-filled set pieces, as the film is loaded to the brim with spectacular gags. The climactic ship sequence must be at least 20 minutes long, as Harold and the villain (who has already murdered his own partner) battle each other over every inch of the ship.
KEVIN: Many silent comedies include some sort of mistaken identity. From Keaton's The General to Lloyd's own Safety Last, there is often some variation of a nobody being mistaken for a somebody. And so it is here with our penultimate Harold Lloyd silent comedy, where Lloyd plays the black sheep in a family of prominent lawmen, until Mary (Ms. Ralston one last time) mistakes him for the real sheriff. Similar to The Freshman, Mary becomes supportive of Harold midway through the film, and it's through her support that he finds the courage to get back the stolen money when the town arrests his father for losing it. The extended scene on the boat is an effective mix of comedy and suspense, as the bag of stolen cash changes hands from Harold, the malicious robber, and a monkey. (So now Keaton, Chaplin and Lloyd have all done comedy scenes featuring monkeys.) I laughed every time Harold outwits the robber, and at the same time I was scared for him because we just saw the robber murder his partner over the money, which makes Harold seem even more heroic when he finally wins out.
Last film viewed: For Heaven's Sake (1926). Last film chronologically: Metropolis (1927). Next film viewed: Speedy (1928). Next film chronologically: The General (1927).
The Movie Odyssey is an exhaustive, chronological project where we watch as many milestone films as possible, starting with D.W. Griffith's Intolerance in 1916 and working our way through, year by year, one film at a time. We also write a short review for each and every film. In this project, we hope to gain a deeper understanding of the time period, the films of the era, and each film in context, while at the same time just watching a lot of great movies, most of which we never would have watched otherwise.
The Runt Of The Litter
bkoganbing20 April 2010
The Kid Brother finds Harold Lloyd cast precisely as that, the youngest and least of three brothers of the local sheriff in a family that seems as competitive as the Kennedys. One shudders to think about the casualties if the Hickorys ever got to playing touch football.
A carnival comes to town which is nominally run by Jobyna Ralston who was a poor man's Mary Pickford. Actually some of the less scrupulous carnival types are running it in her name. She gets Harold Lloyd to sign the carnival permit thinking he's the sheriff and in fact he does have the same name, Lloyd's just a junior.
Like his friends Chaplin and Keaton, Lloyd is bumbling klutz for whom nothing goes right for seven reels, but then in the last reel Lloyd comes alive and shows some inner resourcefulness. Here he has to find the money that was robbed from the town fund collected for the building of a dam. The townsfolk think Lloyd's father did it as he was the custodian of the funds.
By the way check out that makeshift raft that Harold Lloyd has in the final scene in which the chief crook is actually a part of the construction.
The Kid Brother proves his worth to his family and for the audience its worth at the box office.
A carnival comes to town which is nominally run by Jobyna Ralston who was a poor man's Mary Pickford. Actually some of the less scrupulous carnival types are running it in her name. She gets Harold Lloyd to sign the carnival permit thinking he's the sheriff and in fact he does have the same name, Lloyd's just a junior.
Like his friends Chaplin and Keaton, Lloyd is bumbling klutz for whom nothing goes right for seven reels, but then in the last reel Lloyd comes alive and shows some inner resourcefulness. Here he has to find the money that was robbed from the town fund collected for the building of a dam. The townsfolk think Lloyd's father did it as he was the custodian of the funds.
By the way check out that makeshift raft that Harold Lloyd has in the final scene in which the chief crook is actually a part of the construction.
The Kid Brother proves his worth to his family and for the audience its worth at the box office.
People seem to love this for the wrong reasons.
Boba_Fett113817 October 2007
People purely seem to praise this movie for its comedy but if you start comparing the humor in this movie to other genre movies from the same period you must admit that this movie isn't among the best. However the movie does deserve all the praise for its sweet and great written story and its creativity, which is the reason why this movie is a '20's comedy must-see.
This movie doesn't really distinct itself with its humor or timing but it does so through its solidly written comical story.
I wasn't all taken by the movie its comedy. The timing and the slapstick elements aren't the best example of the particular time period and also most certainly so wasn't the directing, that was even below average in parts. There was lots of running and jumping but quite frankly it didn't all made really much sense at times. I prefer a Charlie Chaplin, Buster Keaton or Laurel & Hardy movie over this everyday. Thank goodness that in the end the movie still turns into a great and fun slapstick. Of course in between the movie also features some great, creative and fun moments.
The story is just great and solid. Something that really wasn't common for '20's comedies. It's a sweet story that knows to create a balance between the silly humor and the romantic aspects of the movie. It are the romantic aspects that really makes this a sweet and irresistible movie to watch.
I liked it, though for other reasons than its comedy.
8/10
http://bobafett1138.blogspot.com/
This movie doesn't really distinct itself with its humor or timing but it does so through its solidly written comical story.
I wasn't all taken by the movie its comedy. The timing and the slapstick elements aren't the best example of the particular time period and also most certainly so wasn't the directing, that was even below average in parts. There was lots of running and jumping but quite frankly it didn't all made really much sense at times. I prefer a Charlie Chaplin, Buster Keaton or Laurel & Hardy movie over this everyday. Thank goodness that in the end the movie still turns into a great and fun slapstick. Of course in between the movie also features some great, creative and fun moments.
The story is just great and solid. Something that really wasn't common for '20's comedies. It's a sweet story that knows to create a balance between the silly humor and the romantic aspects of the movie. It are the romantic aspects that really makes this a sweet and irresistible movie to watch.
I liked it, though for other reasons than its comedy.
8/10
http://bobafett1138.blogspot.com/
Not too bad, but overrated.
hemisphere65-110 August 2021
Lloyd the kid to Keaton's mastery
thinbeach25 September 2016
Warning: Spoilers
Lloyd is the neglected younger brother of a rough country family. His foolish antics result in a suspect medicine show staying in town, who are then believed to have stolen money. To impress a girl, Lloyd must save the day.
'The Kid Brother' follows the exact same story template as his earlier film 'Grandma's Boy'. It is also his most Keaton like effort. There are Western family feud elements that recall 'Our Hospitality' (1923) (including the famous shot of an animal disguised as a lady in a dress), haunted ship elements that recall 'The Navigator' (1924), as well as inventive mechanical humour, which recalls much of Keaton's work. So it is entertaining enough with a few chuckles, but not very original, and none of it matches the work of the master he is imitating. I would seek that out instead.
'The Kid Brother' follows the exact same story template as his earlier film 'Grandma's Boy'. It is also his most Keaton like effort. There are Western family feud elements that recall 'Our Hospitality' (1923) (including the famous shot of an animal disguised as a lady in a dress), haunted ship elements that recall 'The Navigator' (1924), as well as inventive mechanical humour, which recalls much of Keaton's work. So it is entertaining enough with a few chuckles, but not very original, and none of it matches the work of the master he is imitating. I would seek that out instead.
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