Boobirt Stylish but barely mediocre overall

BlazeLime Strong and Moving!

Holstra Boring, long, and too preachy.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Petri Pelkonen Young man's girlfriend calls him.He should get to the amateur theatrical production soon.He hops on his Ford Model T and gets on the road.He soon notices the car doesn't like him too much.He has to deal with all kinds of problems, including a dog,a kid and a banana peel.Get Out and Get Under is a Hal Roach comedy from 1920.It's a hilarious comedy with Harold Lloyd, also known as the third genius.His girl is played by Mildred Davis, who became his wife.Fred McPherson plays The Rival.The movie's runtime is 25 minutes and those minutes hold many funny gags inside.Harold Lloyd had the ability to make us laugh.And in this one he has a sidekick- his Ford Model T.What a wonderful pair!

CitizenCaine The premise of this Harold Lloyd film is simple. Harold is late for a theater engagement where he's supposed to be playing a character in a local stage production. On his way to the theater, he's sidetracked by the many mishaps that befall him and his car. Sight gags abound before Harold can even get his car out of the garage. When he finally does, it's an unexpected delight. Of course there are other mishaps along the way, and Harold runs into little Ernest Morrison from the Our Gang comedies who pesters Harold with his dog as Harold attempts to fix his car on the side of a road. Perhaps a bizarre scene, although funny, is when Harold takes an injectable syringe from a street addict and uses it to rejuvenate his car. It works and of course Harold ends up chasing and catching up to his car not once but twice. In the end, Harold rushes on stage just in time to take credit for the performance that his stand-in gave in his absence. This is a typical Harold Lloyd film, funny with a lot of sight gags. **1/2 of 4 stars.

MARIO GAUCI Fair Harold Lloyd short which presents several gags he would re-use and improve upon in his later feature films. It opens with a scene at a photographer's studio where Harold discovers that his girl Mildred Davis is about to marry another man - but it all turns out to have been just a dream. He's involved in amateur theatricals and, being late for a performance, rushes out to the venue in his beloved car: amid the vehicle's breaking down on him, he falls foul of an elderly neighbor and a colored child; the race-against-time, then, culminates in the usual pursuit by a horde of policemen. The automobile trouble eventually gets a bit repetitive, but the film nevertheless includes the occasional inspired and hilarious gag - such as when Harold 'disappears' inside the car's engine compartment, an actor accidentally falling off the stage (after being 'killed') promptly going back up to resume his performance i.e. affecting a typically melodramatic 'exit' and, especially, when Lloyd sees a junkie getting high in the street and reasons that, if he injects his vehicle with the same substance, it will be likewise revitalized - which is what happens, as the car goes off on its own soon after 'taking' its fix!

wmorrow59 This is one of Harold Lloyd's most enjoyable short comedies, but if things had turned out differently it might never have been made at all. Get Out and Get Under was one of the first films Lloyd appeared in after recovering from a freak accident that nearly claimed his life. In the fall of 1919, while Harold was posing for publicity photos, actor Nat Clifford innocently handed him what was believed to be a prop bomb; it turned out to be real, and when it exploded both men were badly injured. After a period of convalescence Harold resumed his career, but his still-healing facial scars are visible in his first close-up in this film, and if you watch his right hand carefully you can see that he's wearing a prosthetic device in place of the fingers lost in the explosion. Nat Clifford is here too, as the neighbor at work in his garden.Despite the circumstances under which it was made Get Out and Get Under is a surprisingly cheerful comedy, though much of the humor relies on anxiety and frustration. Harold plays an actor in an amateur theater production trying to get to his show on time, but auto troubles and other problems hinder him every step of the way. After a somewhat measured opening the story builds in momentum and suspense, becoming funnier, loonier, and more surreal as it goes along. One bit involving the creative use of a pup tent is especially memorable. Some of the gags suggest routines identified with Buster Keaton, as when Harold makes a wrong turn and crashes a parade (as Buster would do in Cops) or is sidetracked into a railroad yard and gets doused by one of those water spouts (as Buster did several times). It all goes to show that there was a lot of borrowing and cross-fertilization in silent comedy; Lloyd certainly returned the favor and borrowed from Keaton on other occasions. In any event, our hero ultimately achieves his goal, wins the girl, and delivers a neat pay-off gag in time for the fade-out.Modern viewers might be surprised at the sequence involving a drug addict Harold meets during his adventure; the man is actually shown injecting a substance, presumably cocaine, into his arm, leading to a routine reminiscent of Chaplin's Easy Street but with a surprise twist. (Oddly enough, prolific character actor William Gillespie played the dope fiend in both movies!) This sort of subject matter would become absolutely taboo when enforcement of the Production Code kicked in during the '30s, but jokes about illegal substances and drug addicts crop up fairly often in silent comedy. Also of note here is the presence of Ernie "Sunshine Sammy" Morrison, the first African- American kid in the Our Gang series, who plays the boy who insists on participating while Harold is trying to fix his engine. Sammy has an easygoing charm and naturalness before the cameras that is striking in this sequence.