In this early science fiction comedy, an inventor creates a series of incredibly lifelike female robots designed as taxi companions. When one of these mechanical dolls wanders away from the laboratory and gets into a taxi, the inventor must pursue and retrieve his creation. Through a series of comedic misunderstandings, a real human woman becomes mistaken for one of the automatons, leading to confusion as the inventor tries to capture what he believes is his escaped robot. The situation escalates as the mix-up becomes increasingly complicated, testing the boundaries between human and machine in this early exploration of artificial intelligence themes.

This film was produced during the critical transition period from silent cinema to sound films in 1929. Director Del Lord, who would later become famous for his work with The Three Stooges, was exploring early science fiction themes at a time when the genre was still in its infancy. The film's concept of lifelike robots was particularly forward-thinking for its era, predating many more famous robot films by decades.
1929 was a pivotal year in cinema history, marking the full transition from silent films to 'talkies.' This period saw massive technological upheaval in Hollywood as studios invested millions in sound equipment and theaters converted to accommodate the new technology. The year also saw the stock market crash in October, which would soon impact film production budgets and lead to the consolidation of the studio system. Science fiction as a film genre was still in its infancy, with most films focusing on horror or fantasy elements rather than technological themes. The concept of robots and artificial life was relatively new to popular culture, having been popularized by Karel Čapek's play 'R.U.R.' (Rossum's Universal Robots) in 1920, which introduced the word 'robot' to the English language.
While 'Taxi Dolls' itself may not have achieved widespread recognition, it represents an early exploration of themes that would become central to science fiction cinema. The film's focus on artificial beings that could pass as human touches on questions of identity, consciousness, and the nature of humanity that would be revisited countless times in later films. The use of female robots also reflects early 20th century anxieties and fantasies about technology, gender roles, and automation. As an early sound film, it also represents the technical and artistic challenges filmmakers faced when incorporating dialogue and sound effects into their storytelling.
Very little documentation exists about the actual production of 'Taxi Dolls.' The film was created during a tumultuous period in Hollywood history when studios were scrambling to convert to sound technology. Director Del Lord was still early in his career, having primarily worked as an actor and stuntman before moving into directing. The robot costumes and effects would have been created using practical effects and mechanical techniques available in 1929, likely requiring significant ingenuity from the production team. The film's blend of science fiction and comedy was unusual for the period, suggesting it may have been an experimental production for the studio.
Specific details about the cinematography of 'Taxi Dolls' are not documented. As a 1929 sound film, it would have been shot using early sound recording equipment, which limited camera movement and required special soundproofing. The visual style would likely reflect the transitional aesthetic of early sound films, which often appeared more static than late silent films due to technical constraints. The robot effects would have been achieved through practical means, makeup, and possibly early mechanical effects.
The primary technical achievement of 'Taxi Dolls' would have been the creation of convincing robot costumes and effects using 1929 technology. The film was also produced during the early sound era, requiring the use of then-cutting-edge audio recording equipment. The combination of science fiction themes with comedy in an early sound format represents an ambitious technical and artistic challenge for the period. The mechanical dolls would have required innovative design and engineering to appear lifelike by 1929 standards.
Information about the musical score or soundtrack for 'Taxi Dolls' is not available. As an early sound film, it would have featured synchronized dialogue and possibly musical numbers or a background score. The technology for recording sound in 1929 was still primitive, with sound-on-film or sound-on-disc systems that limited audio quality. The film may have included popular songs of the era or original musical compositions typical of early sound productions.
Due to the film's obscurity and the passage of time, contemporary critical reception of 'Taxi Dolls' is not well documented. Reviews from 1929, if they exist, have not been preserved in readily accessible archives. The film likely received limited distribution given its experimental nature and the competitive landscape of early sound cinema. Modern film historians have not had extensive opportunity to evaluate the film, suggesting it may be lost or extremely rare. The concept, however, would be recognized today as remarkably forward-thinking for its time.
Information about audience reception to 'Taxi Dolls' in 1929 is not available in existing historical records. The film's release during the chaotic transition to sound cinema and the economic uncertainty following the stock market crash may have limited its theatrical run. Audiences of the era were still adjusting to sound films, and a science fiction comedy about robots would have been an unusual offering. The film's obscurity suggests it may have had limited release or was not particularly successful at the box office.
The preservation status of 'Taxi Dolls' is unknown. Given its obscurity and the fact that many films from this era have been lost due to the unstable nature of early film stock and neglect, it is possible that the film is lost or exists only in fragmentary form. Major film archives have not listed it among known preserved titles, suggesting it may be one of the many lost films of the early sound era.