Admirable film.

A lot of fun.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Take a Chance is a landmark in not Lloyd's filmography but silent cinema in general, as one of the era's most recognizable characters was born. Take a Chance was the first film that had Lloyd adopt his signature "glasses" character, the goofy but lovable character who always found a way to get involved in sticky situations. Unfortunately, the short feels very much half-baked, almost as if Lloyd was more excited for the potential of his character that he threw together a short so that he could have something of an introduction rather than a competent project.The short is a classic love story about Lloyd's character falling in love with a particular woman and finding ways to lose her and have himself succumb to bitter jealousy because of the man she's really in love with. Even for the early days of film, this seems like standard fare. At any rate, the short does have one great scene, which comes early in the one-reeler, where Lloyd is riding in the back seat of a vehicle, with his crush in the passenger seat and her particular lover driving (played by the likes of Bebe Daniels and 'Snub' Pollard, respectively, Lloyd's go-to characters of the era). The scene involves Lloyd mixing ways with both characters, either by kissing his lover or slapping her lover, causing a front-seat dispute amongst the two characters, with Lloyd sitting back and appearing innocent. This is a classic in silent film setups, and gives the "glasses" character a mischievous side, introducing him rather effectively.Take a Chance, however, spirals downhill because of its major concern with trying to drum up slapstick humor and ridiculous setups rather than establish wit or character investment. There's nothing wrong with slapstick comedy but, unless you have great performers or circumstances that find a way to subvert themselves, you're basically poking and prodding schtick until it becomes overbearing and dry, which is what happens here. Nonetheless, more fun would be had when Lloyd found more interesting and exhilarating things to do with his newfound character in the next chapter of his particular career.Starring: Harold Lloyd, 'Snub' Pollard, and Bebe Daniels. Directed by: Alfred J. Goulding.

Though this is perhaps the funniest title card during this 10 minute, 19.92-second Harold Lloyd silent, black & white comedy short, Lloyd historians Richard Correll and John Bengtson agree on their commentary track for this piece of film history that that line probably contains a typo. The Harold Lloyd character has just fallen on a bar of soap dropped by a maid for the residence he's walking past, and he threatens to "sue." That's when the maid says, through the title card, "Clam yourself, mister--my name ain't sue" (evidently, she is not only clumsy, but also hearing-impaired). Just before this tragic incident, the foppish Lloyd character has flipped his last quarter to decide on whether using it to pay for a much-needed haircut, or to purchase a desperately-required lunch--and the quarter has rolled into a sidewalk storm water grate! All in all, it is not this man's day, as bad transforms to worse, and he finally winds up being shot at by prison guards!

Take a Chance (1918) *** (out of 4) Harold Lloyd plays a young man who slips and meets a wash lady (Bebe Daniels) and quickly falls for her. When a rich man ('Snub' Pollard) shows up and takes her to the park, Harold follows them but then ends up getting mixed up with an escaped convict. TAKE A CHANCE is certainly going to appeal to silent buffs and especially fans of Lloyd who gets to show that early slapstick, which is just worked to perfection here. There are several highlights here but one involves Lloyd stepping on a bar of soap and then slip sliding all over the place. The physical talents of Lloyd here are incredibly funny. Another great sequence is when he hides in the backseat of a car and makes Daniels and Pollard turn against one another by kissing her and slapping him. The final few minutes of the picture turn into one long chase as Lloyd is mistaken for an escaped prisoner and we get a lot of funny stuff here. A lot of it deals with some silly cops you can't do anything right but these guys are actually much funnier than even the Keystone Kops. As I said, Lloyd really does a fantastic job here and Daniels is as charming as ever.

Harold Lloyd is absolutely amazing in this two-reeler. His slapstick comedy has pitch-perfect fluency, and his recreation of events is well-observed. He is an eye-witness of his times, and a with a good voice-over his work is compelling.