Get Out and Get Under

About the production

Filmed during the summer of 1920, this short was part of Harold Lloyd's contract with Pathe Exchange. The car sequences were particularly challenging to film due to the limitations of early 1920s automobile technology and the need for precise timing of physical gags. The film's title was borrowed from the popular 1913 song 'Get Out and Get Under' by Harry Von Tilzer and William Jerome, which was still well-known in 1920.

Themes

Themes & topics

Historical background

Made in 1920, Get Out and Get Under reflects production norms of late silent cinema and the transition toward sound—shorter runtimes, regional audiences, and limited preservation infrastructure.

Why this film matters

Historians reference Get Out and Get Under (1920) when discussing 1920 film by Hal Roach.

Making of

The production of 'Get Out and Get Under' exemplified the efficient factory-like system Hal Roach had developed for comedy short production. The script was developed around the central premise of automobile mishaps, with gags tested and refined before filming. Harold Lloyd was deeply involved in the creative process, often suggesting and modifying gags during shooting. The car sequences required careful coordination between Lloyd, the stunt team, and the camera operators to achieve the timing necessary for the physical comedy. The film was shot on the streets of Los Angeles when possible to add authenticity, though some scenes were filmed on studio sets with painted backdrops. The relationship between Lloyd and Mildred Davis was already developing off-screen during filming, adding genuine chemistry to their on-screen romance.

What critics said

Retrospective notes on Get Out and Get Under emphasize its value as a transitional sound-era artifact rather than blockbuster reception.

Did you know?

• The title 'Get Out and Get Under' was taken from a popular 1913 song about a man whose car constantly breaks down, making him repeatedly get out and get under the hood
• Mildred Davis, who plays Harold's love interest, would become Harold Lloyd's real-life wife in 1923
• This film was released during the height of America's automobile craze, when car ownership was becoming increasingly common but still novel enough to be a source of comedy
• The film features one of Harold Lloyd's earliest 'glasses character' appearances, which would become his signature persona
• The car used in the film was a Ford Model T, chosen specifically because it was the most recognizable American automobile of the era
• Physical comedy involving automobiles would become a recurring theme in Lloyd's later work, including his famous safety scenes
• The film was shot in just three days, typical for comedy shorts of this period
• Fred McPherson, who plays the rival, was a regular supporting actor in Hal Roach productions
• The film's success helped establish the 'automobile comedy' as a popular subgenre in silent film
• Original prints of the film featured hand-coloring in certain sequences, a common practice for important releases

Visual style

The cinematography by Walter Lundin employed the standard techniques of silent comedy filmmaking, with medium shots for establishing scenes and close-ups for comic reactions. The camera work was particularly effective during the automobile sequences, where it captured the physical comedy from multiple angles to maximize the humor. The film made good use of location shooting in Los Angeles, providing authentic backdrops that contrasted with the controlled chaos of the comedy. The cinematography emphasized movement and action, essential for conveying the physical gags without dialogue. Lighting was naturalistic for exterior scenes and carefully controlled for interior sequences, ensuring that Lloyd's facial expressions and the mechanical details of the car were clearly visible.

Innovations

While not in technical terms, the film demonstrated sophisticated use of editing for comic effect, particularly in the timing of the physical gags. The automobile sequences required careful coordination between actors, props, and camera work to achieve the necessary comic timing. The film made effective use of location shooting, which was still relatively uncommon for comedy shorts of this era. The production also utilized multiple camera setups for certain sequences, allowing for better coverage of the physical comedy. The film's success in creating humor from mechanical problems showed how technical limitations could be turned into comic assets.

Music

As a silent film, 'Get Out and Get Under' would have been accompanied by live musical performance in theaters. Typical accompaniment would have included a piano or small orchestra playing popular songs of the era, including possibly the title song 'Get Out and Get Under.' The musical score would have been synchronized with the on-screen action, with upbeat tempo during chase sequences and romantic themes for scenes between Lloyd and Davis. Large urban theaters might have used compiled cue sheets specifically designed for comedy shorts, while smaller venues would have relied on the improvisational skills of their resident musicians. The music would have emphasized the mechanical sounds of the automobile through percussive effects and rhythmic motifs.

Famous quotes

Intertitle: 'My new car! She's a beauty!'

Intertitle: 'Another flat tire! This is getting ridiculous!'

Intertitle: 'I'll fix it myself! I know all about cars!'

Intertitle: 'Darling, shall we go for a drive?'

Memorable scenes

• The repeated flat tire sequence where Harold must constantly get out and get under his car, each time becoming more frustrated and disheveled
• The scene where Harold attempts to impress Mildred by showing off his mechanical knowledge, only to have the car fall apart on him
• The climactic chase sequence where Harold pursues his rival in a increasingly damaged vehicle, using creative methods to keep the car moving

What audiences thought

The film was extremely popular with audiences upon its release, becoming one of Harold Lloyd's most successful shorts of 1920. Theater owners reported strong attendance and enthusiastic audience reactions, particularly to the physical comedy sequences. The relatable premise of struggling with new technology resonated with viewers who were experiencing similar challenges with their own automobiles. Audience letters published in trade papers praised Lloyd's comedy and requested more films in a similar vein. The film's popularity helped increase Lloyd's star power and contributed to the growing demand for his films, eventually leading to his transition to feature-length productions.

Film connections

Influenced by

• Earlier Mack Sennett comedies
• Charlie Chaplin's 'The Champion' (1915)
• Buster Keaton's 'The Scarecrow' (1920)
• Popular vaudeville routines about automobiles
• Contemporary newspaper cartoons about car ownership

This film influenced

• Harold Lloyd's later 'The Freshman' (1925)
• Buster Keaton's 'The General' (1926)
• The Three Stooges' 'Pardon My Scotch' (1935)
• Jackie Chan's 'Wheels on Meals' (1984)
• Modern automobile comedies like 'Planes, Trains and Automobiles' (1987)

Film restoration

The film survives in complete form and has been preserved by several archives, including the Library of Congress and the Museum of Modern Art. A 35mm nitrate print was discovered in the 1970s and used for restoration. The film has been released on DVD as part of Harold Lloyd collections and is available through various streaming services specializing in classic cinema. The restoration work has preserved the original tints and toning used in the original release.

Where to watch

• The Criterion Channel (as part of Harold Lloyd collections)
• DVD releases: 'The Harold Lloyd Collection' from Criterion
• YouTube (through official archives)
• Kino Lorber's streaming service
• Various classic film streaming platforms