Directed by Fred C. Newmeyer, Sam Taylor
When a store clerk organizes a contest to climb the outside of a tall building, circumstances force him to make the perilous climb himself.
Preferisco l'ascensore, Monte là-dessus!, O Homem Mosca, Ausgerechnet Wolkenkratzer, Sicherheit spielt keine Rolle, På Vej til den syvende Himmel, El hombre mosca, Harold iskukunnossa, Aki mer, az nyer, Наконец в безопасности!, Upp genom luften, Resitev v zadnjem trenutku, 안전불감증, 最后安全！, 安全ラスト！, Безпека в останню чергу!, 마침내 안전!, 안전은 뒷전!, 안전 불감증, 세이프티 라스트, Güvenlik Sonra Gelir!, Preferisco l'ascensore!, Ausgerechnet Wolkenkratzer!, Monte là-dessus !, 安全至下, Felhőkarcoló szerelem, Siguranța la urmă!, בטיחות בסוף!, O Homem-Mosca, Безпека насамкінець!, 最後安全！, Μωρέ, Κουράγιο!, Jeszcze wyżej, L’home mosca, Taewa ja maa wahel, ロイドの要心無用
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I'll write a review for this as soon as I ditch this cop.
Harold Lloyd, often referred to as “The Third Genius” of silent cinema in deference to Charlie Chaplin and Buster Keaton, is seldom mentioned in the same breath as his seemingly immortal contemporaries despite the fact that he out-earned The Tramp and The Great Stone Face during their heydays, and made more films than the two of them combined. Revisiting Lloyd’s fourth feature / his masterpiece, 1922’s “Safety Last!”, it seems that Lloyd may not be remembered as one of the silent era’s greatest screen comedians in part because he may not have been a comedian at all.
When discussing the fundamental core of their collaboration, Hal Roach, the producer on “Safety Last!” and the brunt of Lloyd’s greatest successes, said…
For over a century (and likely many centuries to come) man's true enemy has been the forces pushing us into a literal economic climb for our life... and the dastardly pigeon.
an incredible achievement and so so so funny. a nonstop marvel to me. 103 years later, there are several brilliant little gags in this that i still haven’t seen ripped off. “who dropped the 50 dollar bill” and the trash can bribe made the crowd (and i!) go nuts. final 30 minutes must be a direct inspiration for nathan fielder’s “the hero” right? can’t believe this is my first harold lloyd but very honored i got to watch it on a big screen, thanks to LA mayoral candidate rae huang hosting a screening at whammy analog media. one of the all time great LA films. bring back the train cars!
do you think Tom Cruise watched this when he was like seven where it shaped his entire life
Harold Lloyd was a treasure and this movie is an absolute delight. Nice to see that retail life hasn’t changed much in 98 years.
me during the last twenty minutes:
palms: sweaty
knees: weak
arms: heavy
mom’s: spaghetti
Harold Lloyd climbed so Jackie Chan could parkour.
Harold Lloyd is often considered the third great silent comedian behind Charlie Chaplin and Buster Keaton but whereas Caplin was a sentimental clown and Keaton was a deadpan surrealist Lloyd's angle was that he was just a guy who kept almost dying. This shocked audiences in the 20s for whom dying had fallen out of fashion. Nowadays the Jackass boys fill the cultural niche left by Lloyd's death in 1971 from being struck by lightning as he cleaned the top of the Chrysler Building. And if I'm being honest, they do it a lot better due in no small part to their ability to speak. Who said there's no such thing as progress?
A definitive example of the silent-era comedy at its most refined — deftly balancing charm, technical ingenuity, and narrative wit. The film asserts its own distinctive identity through Harold Lloyd’s singular persona: a wide-eyed optimist navigating the chaos of urban modernity with both innocence and ingenuity.
The film’s premise, rooted in the protagonist’s attempts to forge a successful life in the city to win the approval of his beloved, offers a perfect vehicle for Lloyd’s blend of physical comedy and emotional sincerity. Instead of just being an excuse for jokes, the story unfolds with rhythm and purpose, building organically toward its iconic set piece.
The legendary high-rise climbing sequence it’s a masterclass in visual storytelling, suspenseful pacing, and comic escalation.…
Buster Keaton is the calm amidst the storm. Harold Lloyd, by contrast, is scared.
I’m starting to notice the unhinged pattern in 1920’s comedians; it’s to do risky comedy or just die trying. A bunch of maniacs, if you ask me. Roger Eberts denotes it best when he says in his review: “I accept without question that there were times in Safety Last when Harold Lloyd could have fallen to his death. The question becomes: Is that funny?” No, Roger Ebert, that was absolutely nail-biting.
Yet, the sheer determination for Harold Lloyd’s career becomes strangely commendable. Hence, it’s why he’s hailed as the “third genius” of silent comedies. The humor in this is incredible too, though one or two may feel politically outdated. I’m not sure what else to say about this except that it’s outstanding, but I’ll be right back — soon as I ditch this cop.
