Going! Going! Gone!

Plot

In this Harold Lloyd comedy short, Lloyd and his frequent co-star Harry 'Snub' Pollard come to the rescue of a young woman who has fallen into the water, only to find themselves pursued by her angry mother. The duo escape on a tandem bicycle, with Lloyd characteristically lounging on the back seat while Pollard struggles with the pedaling. Their journey leads them to encounter car thieves whose vehicle has broken down, and in a moment of misguided helpfulness, Lloyd and Pollard assist the criminals in restarting their car. The thieves repay their kindness by stealing the heroes' tandem bicycle, leaving Lloyd and Pollard unexpectedly in possession of the thieves' automobile as the film concludes with this ironic reversal of fortune.

Historical Background

1919 was a pivotal year in American cinema, marking the end of World War I and the beginning of Hollywood's golden age. The film industry was consolidating, with studios like Hal Roach establishing themselves as major producers of comedy content. This period saw the rise of the feature film, but comedy shorts remained extremely popular as part of theater programs. Harold Lloyd was still developing his screen persona, competing with established giants like Charlie Chaplin and the emerging Buster Keaton. The film reflects post-war American society's growing fascination with automobiles and mobility, while also tapping into timeless themes of friendship, mistaken identity, and comic justice. The year also saw significant labor unrest in Hollywood, with actors and technicians pushing for better working conditions and recognition.

Making Of

The production of 'Going! Going! Gone!' exemplified the efficient factory-like approach of Hal Roach Studios during the silent comedy boom. Harold Lloyd was under contract to produce multiple shorts per year, and these films were typically shot in just 2-3 days with minimal scripting and heavy reliance on improvisation and physical comedy. The tandem bicycle sequences would have required extensive rehearsal to achieve the comic timing, with Lloyd and Pollard developing their chemistry through countless previous collaborations. The film was likely shot on the Roach studio backlot, with the water rescue scene possibly filmed in one of the studio's tanks or at a nearby location. As with most silent comedies of this era, the intertitles were written after filming was complete, often tailored to enhance the visual gags rather than drive the narrative.

Visual Style

The cinematography in 'Going! Going! Gone!' reflects the practical approach of silent comedy production. The camera work was primarily functional, designed to clearly capture the physical comedy and action sequences. Long takes were favored for chase scenes and physical gags, allowing audiences to fully appreciate the performers' timing and stunts. The film likely used stationary camera positions typical of the era, with movement achieved through actor blocking rather than camera mobility. Lighting would have been natural or basic studio lighting, prioritizing visibility over artistic effect. The visual composition emphasized clarity of action and expression, essential for silent film comedy where visual storytelling was paramount.

Innovations

While not groundbreaking technically, 'Going! Going! Gone!' demonstrates the sophisticated stunt coordination and timing that characterized quality silent comedies. The tandem bicycle sequences required precise choreography between Lloyd and Pollard, showcasing their developed comedic partnership. The film's production exemplified the efficient assembly-line approach of Hal Roach Studios, which could produce high-quality comedy shorts on tight schedules. The use of automobiles in the comedy reflects the growing technical capabilities of film production to incorporate modern props and settings. The film's survival through the decades also speaks to the relatively good preservation practices of Harold Lloyd, who carefully maintained his film library.

Music

As a silent film, 'Going! Going! Gone!' would have been accompanied by live musical performance during theatrical exhibition. The typical accompaniment would have been piano or organ music, often improvised by the theater musician or selected from stock libraries of appropriate mood music. For chase sequences, upbeat, frantic music would have been used, while the water rescue scene might have featured more dramatic or romantic themes. The specific musical selections would have varied by theater and musician, with larger theaters employing small orchestras while smaller venues used solo piano. No original score was composed for the film, as was standard practice for comedy shorts of this period.

Memorable Scenes

• The opening water rescue sequence where Lloyd and Pollard heroically save the young woman, only to face the wrath of her mother; The extended tandem bicycle sequence showcasing Lloyd's lazy character lounging while Pollard struggles to pedal; The ironic conclusion where the thieves steal the bicycle, leaving Lloyd and Pollard unexpectedly in possession of their car

What Critics Said

Contemporary reviews of 'Going! Going! Gone!' were generally positive, with trade publications like Variety and Motion Picture News praising the film's physical comedy and the chemistry between Lloyd and Pollard. Critics noted the inventive use of the tandem bicycle as a comic device and appreciated the film's brisk pacing and effective gags. Modern film historians view this short as a competent example of Lloyd's early work, showing his developing comedic style before he achieved superstardom. While not considered among his masterpieces, the film is valued by silent comedy enthusiasts for its representation of Lloyd's collaborative period with Hal Roach and his partnership with Harry Pollard.

What Audiences Thought

The film was well-received by contemporary audiences who were avid consumers of comedy shorts. Harold Lloyd was already a popular star by 1919, and his films consistently drew crowds to theaters. The bicycle gags and chase sequences would have been particularly appealing to audiences of the era, who appreciated the physical comedy and situational humor. The film's brief runtime made it perfect for theater programs that typically included multiple shorts, a feature, and newsreels. While specific audience figures are not recorded, the continued production of Lloyd shorts during this period indicates strong commercial success and audience demand.

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