Get Out and Get Under

Plot

Harold Lloyd plays a young man who has just purchased his first automobile and is eager to show it off to his sweetheart, played by Mildred Davis. His romantic drive is constantly interrupted by a series of comedic mishaps, including a persistent flat tire that forces him to repeatedly get out and get under the car. The situation becomes increasingly chaotic as he encounters various obstacles, including a rival suitor and a runaway vehicle. Despite his best efforts to maintain his dignity and impress his date, Harold's mechanical incompetence leads to escalating physical comedy. The film culminates in a wild chase sequence that showcases Lloyd's trademark blend of danger and humor.

Historical Background

1920 was a pivotal year in American history and cinema. The country was entering the Roaring Twenties, a period of unprecedented prosperity and technological advancement. Automobile ownership was skyrocketing, with Ford's mass production of the Model T making cars accessible to middle-class Americans for the first time. This cultural shift provided rich material for comedians like Harold Lloyd, whose 'everyman' character struggled with modern technology. The film industry itself was transitioning from short films to feature-length productions, though comedy shorts remained extremely popular. 1920 also saw the beginning of Hollywood's dominance in global cinema, with studios like Hal Roach's establishing the comedy formulas that would define silent film comedy.

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.

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 groundbreaking 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.

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 Critics Said

Contemporary critics praised the film for its inventive gags and Lloyd's energetic performance. The Motion Picture News called it 'a thoroughly enjoyable comedy with plenty of laughs' and specifically noted the clever use of automobile mishaps. The Exhibitor's Herald recommended it strongly for theater programmers, stating 'Harold Lloyd has never been better, and the automobile gags are fresh and original.' Modern critics and film historians view the film as an important example of Lloyd's early work, showing the development of his signature style before his more famous feature films. It's often cited as a prime example of how silent comedy could reflect the technological and social changes of the era.

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.

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