| Photos (see all 2 | slideshow) |
| Harold Lloyd | ... | Harold Bledsoe | |
| Barbara Kent | ... | Billie Lee | |
| Noah Young | ... | Officer Patrick Clancy SFPD | |
| Charles Middleton | ... | John Thorne / The Dragon | |
| Will Walling | ... | Captain Walton SFPD 3rd Div. (as William Walling) | |
| rest of cast listed alphabetically: | |||
| Grady Sutton | ... | Man at party (silent version) (scenes deleted) | |
| Brooks Benedict | ... | Handcuffed Prisoner at Police Station (uncredited) | |
| Eddy Chandler | ... | Cop (uncredited) | |
| Rae Daggett | ... | Woman sitting in police station (uncredited) | |
| Douglas Haig | ... | Buddy Lee, Billie's little brother (uncredited) | |
| Edgar Kennedy | ... | Desk Sergeant SFPD (uncredited) | |
| Tetsu Komai | ... | Florist-henchman (uncredited) | |
| Wang Lee | ... | Chinaman with queue (uncredited) | |
| James B. Leong | ... | Florist-henchman / high priest (uncredited) | |
| Jim Mason | ... | Barry Steele, aka Dick, the Dude (uncredited) | |
| Nelson McDowell | ... | First train passenger (uncredited) | |
| Soo Hoo Sun | ... | Dead Chinese Man (uncredited) | |
| James Wang | ... | Dr. Chang Gow (uncredited) | |
| Blue Washington | ... | Thorne's Black Servant-Henchman (uncredited) | |
| Leo Willis | ... | Cop (uncredited) | |
Directed by | |||
| Clyde Bruckman | |||
| Malcolm St. Clair | |||
Writing credits(in alphabetical order) | ||
| Felix Adler | screenplay | |
| Felix Adler | story | |
| Clyde Bruckman | screenplay | |
| Clyde Bruckman | story | |
| Harold Lloyd | uncredited | |
| Lex Neal | screenplay | |
| Lex Neal | story | |
| Paul Girard Smith | dialogue | |
Produced by | |||
| Suzanne Lloyd Hayes | .... | executive producer (video release) | |
| Harold Lloyd | .... | producer | |
| Jeffrey Vance | .... | producer (video release) | |
Cinematography by | |||
| Henry N. Kohler | |||
| Walter Lundin | |||
Film Editing by | |||
| Bernard W. Burton | |||
| Carl Himm | |||
Art Direction by | |||
| Liell K. Vedder | |||
Production Management | |||
| John L. Murphy | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Gaylord Lloyd | .... | assistant director | |
Sound Department | |||
| Cecil Bardwell | .... | sound technician | |
| Lodge Cunningham | .... | sound technician | |
| George D. Ellis | .... | sound | |
Stunts | |||
| Jake Jacoby | .... | stunt double: Harold Lloyd (uncredited) | |
Camera and Electrical Department | |||
| Anderson Bardwell | .... | electrician | |
Music Department | |||
| C. Bakaleinikoff | .... | music arranger (as Bakaleinikoff) | |
Other crew | |||
| Tom Gubbins | .... | production assistant | |
| William MacDonald | .... | technical advisor | |
| James H. Anderson | .... | production assistant (uncredited) | |
| Roy Brooks | .... | assistant: Mr. Lloyd (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| IMDb Comedy section | IMDb USA section | Add this title to MyMovies |
Anyone who's seen `Singin' In The Rain' knows the panic engendered by the arrival of sound in Hollywood. Virtually overnight, the accepted methods and styles of filmmaking had to change to accommodate the new technology, and comedies were perhaps affected most of all. Instead of relying on wild car chases, broad gestures and sight gags, movies now had to include verbal comedy of the sort that wouldn't fit neatly onto title cards, and the dialogue had to be delivered with comic timing, since it was being heard rather than read off the screen. The most remarkable thing about this movie is how easily Harold Lloyd seemed to navigate this conversion to sound. The dialogue is clever, naturalistic, well-delivered and well-recorded, and the music has obviously been scored to support the action, and all this a matter of months after the first appearance of sound technology in Hollywood! The difference in technique is apparent when you compare the broader, overdubbed silent scenes with Clancy the cop and the somewhat more subtle, sound scenes at the police station and with Billie Lee.
As a side note, notice how the character of the Chinese doctor is treated respectfully, and even the black henchman of the Dragon, apparently invulnerable except for his glass shins, isn't the usual stereotype we expect in movies of the period. On the minus side, the movie is overlong and could have done without the opening sequence involving Lloyd and his `disguised' girlfriend. But overall, this is an enjoyable comedy and an interesting record of Hollywood's transition to sound.