Plot Summary:Harold Lamb's dream is to go to college and become the most popular student on campus, much like the character Speedy played by actor Lester Laurel in the movie "The College Hero". Accepted into Tate College, Harold plans on emulating Speedy, including giving himself the nickname Speedy, to gain that popularity, not realizing that if he does so, he will be more the buffoon than the hero. To be the most popular student, he will have to outdo the current most popular student, football captain Chet Trask. Unaware Speedy's task is made all the more difficult when one of the upperclassmen, seeing how hard Speedy is trying to impress, does whatever he can to make Speedy look all the more ridiculous, all the while Speedy believing he is achieving his dream. The bully's efforts are made all the more easy as Speedy is able to buy his way to seeming popularity with the small nest egg he was able to accumulate from work. The one thing that Speedy may not be able to buy is his way onto the football team, which he is convinced is the only surefire way to becoming the campus hero, despite not realizing that he truly is not the football type. While Speedy remains unaware how he truly looks to his classmates, Peggy, the daughter of the owner of the rooming house where he is staying, is aware, she who is in love with him, and he with her. The love of a good woman may be able to provide Speedy with a clearer understanding of who he truly should be to impress, and/or get his mind focused on other things other than being everyone's best friend.
影片中那个颠倒性格的戏剧人物时常把别人的嘲笑当作夸奖,把别人的作弄当作指教。他以人物的热情和雄心去创造喜剧高潮,注重叙事结构,擅长在情节中展示自己的幽默和各种噱头,并以复杂的视觉语言,生动活泼地塑造了一个别出心裁的喜剧形象。
世界电影史 哈劳德劳埃德 棍棒喜剧 启斯东卓别林牛在深广的社会影响与大悲大喜的境界,基顿牛在手笔阔(敢玩命儿也敢砸钱)与电影技法创新,哈劳德似乎只是创造了一个新颖的青少年向的喜剧人物,其他的一笑而过之后好像便想不起什么了结尾镜头👍,完美诠释喜剧精神!
7/10 结尾萌极了
结尾花洒好创意。
哈罗德·劳埃德的经典代表作品,运动题材的校园青春喜剧,默片黄金时代佳作频出的年份--1925年的年度最卖座喜剧电影。剧情通俗易懂,表演自然流畅,笑点设计精妙妥帖,场面调度大气从容…
裁缝那里挺逗,默片喜剧片时期大家人物塑造都很有特点和风格。但是相比用形象动作引发的喜剧冲突还是喜欢令人回味和细腻深刻的叙事和悲剧内核的喜剧片。
劳埃德喜剧片。看的第一部劳埃德的片子,谈不上惊艳也谈不上失望:相比基顿,劳埃德对老一套塞纳特的棍棒喜剧的突破显得较小;劳埃德并没有基顿式的奇观化镜头与情节而选择在生活中表现幽默,而相较于《将军号》的冷淡本片的大卖反而证明了劳埃德更能把握当时的观众;劳埃德有点过于依赖字幕了,可能是为了更好的把控叙事很少的镜头会专门的去表现一些无关紧要却必须要交代以铺垫下文的事,这点就更像现代有声片发展后形成的叙事状态了;笑点的制造没什么大的突破,相较于基顿劳埃德的幽默缺少特色,过于依赖滑稽的表现,看见一些通过视觉错位等欺骗性笑点都有点兴喜了。7.2分