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user\nWhat is often neglected about Harold Lloyd is that he was an actor. Unlike Chaplin and Keaton, Lloyd didn't have the Vaudeville/Music Hall background and he wasn't a natural comedian. He came to Hollywood to act; and he discovered he had a knack for acting funny -- first in shorts, then in features. He made a name for himself as \"Lonesome Luke\", a Chaplin knock-off; with the \"glasses character\" that made him the all-American boy rather than a grotesque, Lloyd found his stride and his movies became some of the best produced during the silent era.
He developed a reputation as a \"daredevil\" in some shorts, and retained this in some of his best movies (\"Safety Last\", \"For Heaven's Sake\", \"Girl Shy\"). He was more popular than either Chaplin or Keaton during the twenties and he became very rich before the advent of sound.
The first sound movies were often disasters. To get the most out of their \"sound\", too much dialog was used in many movies.
Lloyd's acting skills were, after two decades, geared for silents. He didn't have a bad voice; its high pitch suited his \"glasses\" character. And his sound films weren't the unqualified disasters of legend. Yet silent movies had been raised to a high art (especially Lloyd's, which did not stint on budget and were extremely well-crafted); with the introduction of talkies movies had to learn to walk again and they made some missteps.
Though he tried to move with the times and embraced sound, Lloyd's best bits from his early (overly talky) talkies were still visual -- such as the scene in \"Movie Crazy\" where he appears to be riding in a swank car, but actually \"hitched a ride\" on his bicycle.
Trying to recapture the daredevil antics that made him famous, as he did in \"Feet First\", was misstep. (In \"Safety Last\", his best movie and the one that, deservedly or not, shoved Lloyd in the box as a \"daredevil comic\", he played a determined young man, climbing to the top. \"Safety Last\" had a natural structure that ascended to his character's scaling the side of the building. He was obviously afraid, but his fear added to the humor. In \"Feet First\", he arrived in a precarious building-scaling position by accident; his frantic cries for help detracted from the humor. His character was pathetic and cringing, aspiration to save his neck -- possibly an accurate statement of the 1930s, but not amusing).
Harold Lloyd was not mired in the past, like some wacky Norma Desmond. He embraced sound and tried to take his movies in different directions, growing and changing with the industry. When \"Feet First\" failed he left the daredevil business and made a satire on the talking movie industry, \"Movie Crazy\". Just as he had to flounder through many movies as \"Lonesome Luke\" before carving his place in movie history with the glasses character, he had tried several directions in sound movies before hitting his stride in sound, which he did with \"The Catspaw\".
In \"The Catspaw\" he plays a missionary's son reared in China who unwittingly gets elected mayor as a front for corrupt political interests. When he finds out the truth, he sets himself the task of cleaning up the town. Only in his early forties, Lloyd could still act the brash young man.
Yet \"The Catspaw\" was another box-office failure, and Lloyd made only three more movies, including \"The Milky Way\". Of his chief competitors, Chaplin still had silent movies in him and Keaton was hopelessly mismanaged. \"The Catspaw\" and \"The Milky Way\" suggest Lloyd might have mastered sound comedy if he had been a little younger, or if audiences had given him the benefit of the doubt after his early sound fiascoes.
Though the movie has been unfairly maligned about the way Lloyd's character cleaned up the town, it suits him. From his days in \"shorts\" Lloyd wanted to scare his audience, and the climax of \"The Catspaw\" achieved it yet again, in a surprising way; until the trick is revealed it appears gruesome, and then come the laughs.
Viewed as a product of its time, \"The Catspaw\" is charming and funny. A very well-written sound comedy, well-acted by Lloyd. Directed by Sam Taylor, its curious blend of drama and sly humor make it look almost like a Frank Capra or Preston Sturges comedy.
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