Smartorhypo
Highly Overrated But Still Good
Comwayon
A Disappointing Continuation
mraculeated
The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.
boblipton
Harold Lloyd had switched from his Lonesome Luke character to his more normal looking "Glasses" character the previous year. He had insisted on this because he felt that he wanted to be able to do more than Chaplin-at-Keystone slapstick comedy. In this one, he's still doing that style of comedy -- with a coda that suggests Chaplin's Mutual short THE ADVENTURER -- although there' s little to complain about in this one, It's quite funny.Harold, dressed in formal morning clothes, snags a ride with Snub and Bebe to go a picnic. There are several good, rough gags along the way, and Harold gets to do some good pratfalls and kicks, as well as a good, early thrill gag. If you're looking for a story, or character, as Harold would later offer when he worked at greater lengths in the 1920s, you won't find those here, but you will find some well executed jokes and gags. Producer Hal Roach was definitely building a team that could build good comedies.
Steve Pulaski
Take a Chance is a landmark in not Lloyd's filmography but silent cinema in general, as one of the era's most recognizable characters was born. Take a Chance was the first film that had Lloyd adopt his signature "glasses" character, the goofy but lovable character who always found a way to get involved in sticky situations. Unfortunately, the short feels very much half-baked, almost as if Lloyd was more excited for the potential of his character that he threw together a short so that he could have something of an introduction rather than a competent project.The short is a classic love story about Lloyd's character falling in love with a particular woman and finding ways to lose her and have himself succumb to bitter jealousy because of the man she's really in love with. Even for the early days of film, this seems like standard fare. At any rate, the short does have one great scene, which comes early in the one-reeler, where Lloyd is riding in the back seat of a vehicle, with his crush in the passenger seat and her particular lover driving (played by the likes of Bebe Daniels and 'Snub' Pollard, respectively, Lloyd's go-to characters of the era). The scene involves Lloyd mixing ways with both characters, either by kissing his lover or slapping her lover, causing a front-seat dispute amongst the two characters, with Lloyd sitting back and appearing innocent. This is a classic in silent film setups, and gives the "glasses" character a mischievous side, introducing him rather effectively.Take a Chance, however, spirals downhill because of its major concern with trying to drum up slapstick humor and ridiculous setups rather than establish wit or character investment. There's nothing wrong with slapstick comedy but, unless you have great performers or circumstances that find a way to subvert themselves, you're basically poking and prodding schtick until it becomes overbearing and dry, which is what happens here. Nonetheless, more fun would be had when Lloyd found more interesting and exhilarating things to do with his newfound character in the next chapter of his particular career.Starring: Harold Lloyd, 'Snub' Pollard, and Bebe Daniels. Directed by: Alfred J. Goulding.
cricket crockett
Though this is perhaps the funniest title card during this 10 minute, 19.92-second Harold Lloyd silent, black & white comedy short, Lloyd historians Richard Correll and John Bengtson agree on their commentary track for this piece of film history that that line probably contains a typo. The Harold Lloyd character has just fallen on a bar of soap dropped by a maid for the residence he's walking past, and he threatens to "sue." That's when the maid says, through the title card, "Clam yourself, mister--my name ain't sue" (evidently, she is not only clumsy, but also hearing-impaired). Just before this tragic incident, the foppish Lloyd character has flipped his last quarter to decide on whether using it to pay for a much-needed haircut, or to purchase a desperately-required lunch--and the quarter has rolled into a sidewalk storm water grate! All in all, it is not this man's day, as bad transforms to worse, and he finally winds up being shot at by prison guards!
Single-Black-Male
Harold Lloyd is absolutely amazing in this two-reeler. His slapstick comedy has pitch-perfect fluency, and his recreation of events is well-observed. He is an eye-witness of his times, and a with a good voice-over his work is compelling.
