NekoHomey Purely Joyful Movie!

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Cristi_Ciopron A comedy with Lloyd, Menjou, Verree Teasdale, Helen Mack, W. Gargan, directed by a distinguished craftsman. Menjou is at his best, very believable as a dishonest manager.It is slapstick with a reek of folksy artfulness, but the thoughtful plot also has this neat dramatic dimension, required by Lloyd's style, which elicited, entailed this dramatic sharpness; his character was unusual and surprising among the peers, with unexpected means, and skillful in his own way, a naughty wag, determined not to be a victim, which makes the role so truth-like and folksy, with a certain folk realism, slyness and cleverness, a survivor, not at all helpless or clueless, he has his own merry pranks. The lead's slapstick was extravagant (the parades with bagpipes, the horses, already the lion, the flying hat) and baroque, compared to Keaton's.The protagonist is a proletarian. His _naivetés proceed mainly from inexperience (the puddle, the sportive delusions), not from imbecility, he has a gleam of cleverness. His story synthesizes two lines of realism, a modern popular one, and a folkloric one, reminding of the legendary jesters, and the movie's outlook needs to be explained by both of them, plus the extravagant slapstick, whether satirical (the lion, the hat, the bagpipes: the milkman's delusions of glamor …), or not. The milkman is decent and kind (and reasonably gullible in a milieu unusual for him), but not an idealist (this would be a type of lead unknown to the school of folkloric humor).Of the three ladies, Helen Mack plays the milkman's sister, Verree Teasdale the heartless blonde (Miss Westley).Menjou gives one of his best performances as the unprincipled, scheming and shrewd manager, he has an astounding ease.W. Gargan, who is very likable and handsome, plays Speed, Burleigh's future brother-in-law.So, a work of thoughtful and crafty comedy; the engine is the storyline, very polished. Some of the characters are glamorous (Miss Westley, the manager, Speed), others not (the sister and the girlfriend); there is a blockhead, Spider, but even him is the generic blockhead of the '30s comedies, not a slapstick one. Lloyd had this possibility of folk drama, because there is something dramatic in his character's struggle to survive. The movie begins with his humiliations, and he finds the way to upstage them all, he finds a makeshift. His Burleigh is sometimes clumsy, but neither naive, nor humble, he vanquishes the wealthier and their routine. He's sly.

ma-cortes This entertaining film deals with a timid milkman named Burleigh Sullivan (the name of the lead character, "Burleigh" is an inside joke since it sounds like "burly" which means 'strongly and heavily built, husky' which the character is not) . Sullivan (Harold Lloyd), somehow knocks out a boxing champ in a brawl. The newspapers get hold of the story and photographers even catch Burleigh knock out Speed again . Speed's crooked manager (Adolphe Menjou) decides to turn Burleigh into a boxer . Burleigh doesn't realize that all of his opponents have been asked to take a dive. Thinking he really is a great boxer , Burleigh develops a swelled head which puts a crimp in his relationship with pretty girl called Polly Pringle (Dorothy Wilson) . He may finally get his comeuppance when he challenges fighter Speed (William Gargan) for the title. So the sleazy manager decides to substitute him with Sullivan , who is now groomed for stardom. Naive Burleigh does everything the crook says, only to be blamed when it all explodes in their faces big time. This light-hearted comedy and enjoyable story is basically a showcase for the many talents of Lloyd , as a frail man mistaken for a potential champion and probably to be Harold's last classic picture . The yarn is appropriate , but no equal to Lloyd previous silent productions. Amusing acting by Harold Lloyd as a shy milkman Burleigh Sullivan who accidentally knocks out drunken Speed McFarlane, a champion boxer who was flirting with Burleigh's sister . Harold plays a milque-toast weak man , a funny and totally extroverted Lloyd who thinks he really won all those fights that he was signed up by crooked manager Adolphe Menjou who shows to have a big flair for slapstick comedy . Features great support cast such as Helen Mack , William Gargan and Lionel Stander will repeat his role from this original version ten years later and film debut of Anthony Quinn. Producer Samuel Goldwyn bought the rights for the property in the mid-1940s for his remake The kid of Brooklyn (1946), as well as the original negative and almost all existing prints, and destroyed them. The ending struggle scenes for the championship is hysterically fun , an adequate material for Harold LLoyd's physical skills . Beautifully filmed in black and white cinematography as well as atmospheric musical score . It proved to be a very profitable film , being this original rendition with Lloyd and McCarey crisper and funnier than subsequent retelling . The motion picture was professionally directed by Leo McCarey ; however , when director was in the hospital, Norman Z. McLeod directed some of the scenes . The film is definitely for the lighthearted.This flick has been adapted several times , as firstly the original play opened at the Cort Theatre in New York on 8 May 1934 and closed in July 1934 after 63 performances , titled the Milky Way (1934) , written by Lynn Root and Harry Clork , directed by William W. Schorr with a cast formed by : John Brown, Brian Donlevy (as "Speed McFarland"), Leo Donnelly (as "Gabby Sloan") , Edward Emerson, William Foran, Gladys George (as "Anne Westey"), Emily Lowry, Hugh O'Connell (as "Burleigh Sullivan") . And reworked a decade later by Samuel Goldwyn as The kid from Brooklyn (1946) , it even features some of the same supporting characters the Lloyd version . The big difference is the addition of the songs , the players are : Danny Kaye as Burleigh Sullivan, Virginia Mayo as Polly Pringle , Vera-Ellen as Susie Sullivan , Steve Cochran as Speed McFarlane , Eve Arden as Ann Westley , Walter Abel as Gabby Sloan , Lionel Stander as Spider Schultz . Furthermore , The Hedda Hopper Show - This Is Hollywood" broadcast a 30 minute radio adaptation of the movie on March 22, 1947 with Danny Kaye and Virginia Mayo reprising their film roles. And finally a special version titled ¨The Calcium kid¨ (2004) starred by Orlando Bloom , Michael Lerner , Billie Pipper , David Kelly ,in which an English bachelor milkman, 'accidentally' knocks down his boxing club's champion as stand-in sparring partner.

Syl Harold Lloyd was a comic film legend in the 1930s. In this film, he plays Burleigh Sullivan, a mild-mannered milkman, who ends up decking the world boxing champion in order to protect his sister. Anyway, Harold Lloyd reminds me of a Jim Carrey or Don Knotts. While the film was made in 1936 during the Great Depression, the story is light-hearted, fun, and entertaining about Burleigh's rise to success by accident. It's kind of like a funny Rocky movie with lovable Burleigh. Harold Lloyd was a true film star with a comedic genius and perfect timing. Harold Lloyd and the cast in this film are likely all gone now. But in the midst of the Great Depression, I can imagine audiences enjoy watching Harold Lloyd's character, Burleigh, the everyman milkman who needed the money to help care for his beloved horse, Agnes, and became a boxing champion even though he couldn't box to save his own life. The film has some great comedic moments and Harold Lloyd was a comedic genius.

evanston_dad In this very solid Harold Lloyd screwball comedy, Lloyd plays an unassuming milk delivery man who finds himself on the front pages when he's credited with knocking out the world middle-weight boxing champion, Speed McFarland, in a street brawl. The negative publicity this news generates for McFarland comes much to the dismay of McFarland's manager, the slick Adolphe Menjou, who instantly plans a damage-control scheme. Lloyd will go up against a number of other boxers and win in fixed fights, building anticipation for a rematch against McFarland, in which McFarland will clobber him in the first round, since Lloyd doesn't really know how to fight. Of course, nothing plays out as simply as it should, and all manner of hijinks and supporting characters find themselves mixed up in this zany plot.I was impressed by the tight screenplay for "The Milky Way." It's classic 30s screwball, which means the script doesn't have to make a lot of sense, but even so the scriptwriters flesh out little details in the action -- like a thug who can't read, or Lloyd's affection for his milk cart horse, Agnes -- that play a role later in the plot. And the film is filled with all manner of sight gags and one-liners. Some of my favorite set pieces are the ones in which Menjou's sardonic girlfriend, played like a champ by Verree Teasdale, an actress I've never heard of, teaches Lloyd how to box by turning his training into a dance lesson; and a hilarious bit that finds Lloyd racing to his big match with McFarland while lugging around a colt, offspring of the beloved Agnes. Director Leo McCarey knows how to stage physical comedy, and the frame at any given time is stuffed with all manner of characters doing or saying something completely separate from what everybody else is doing or saying, so that the reigning visual style of the film is controlled chaos."The Milky Way" may not be in the same league as some of its screwball contemporaries, like "My Man Godfrey" or "Bringing Up Baby," but I guarantee it will put a smile on your face.Grade: B+