This was a wonderful film that lasted only about 50 minutes--though some versions run shorter or longer. For years, the only version available was the shorter sequence involving climbing the building. Then, the Lloyd family more recently released a complete 70+ minute version. I've seen both and both I would score iun each about a 10. I was NOT aware of this difference when I first reviewed the movie--having reviewed it for the SHORT version. Later, I saw the full version and the review was updated in light of this.

Safety Last has a rather thin plot in the shortened version and is jam-packed full of insanely dangerous looking stunts in both. In this sense, it is probably the BEST film of its type---by Lloyd, Keaton or Chaplin. However, because it has so many stunts, it lacks some of the charm of his other longer movies--especially if you see the short version. The longer adds the rather familiar plot of Harold meeting a sweet girl and wanting to make good. This is familiar, but handled very well. While I think I prefer THE FRESHMAN as well as THE KID BROTHER, this is a wonderful don't-miss film and is a must-see for any true cinephile as it's filled with great laughs and in unbelievably creative and fresh.

SAFETY LAST! is one of the big comedy classics of 1920s Hollywood, as well as all time for that matter. I come to it somewhat late in the day, having seen plenty of clips of the famous climax over the years, but without actually having sat down and watching the whole thing. And what a treat it is to watch! Harold Lloyd proves his worth as one of the great silent comedians with this lightweight and likeable story, which sees him playing a mild-mannered shop assistant trying to impress his country-dwelling girlfriend. The film's plot is enjoyable to watch, and a huge influence on Chinese comedy action cinema of the 1980s; this is pretty much the film that led Jackie Chan to make all of his classics in that decade. The slapstick and sight gags are hilarious and just keep on coming, and Lloyd's co-stars are hilarious. Inevitably, the climbing climax is what everyone remembers here, and what a treat it is to behold: an epic set-piece that just keeps on giving and giving and giving, remaining fresh and inventive as well as nail-biting and visually, a masterwork. It's a brilliant way to end the picture and deservedly helped to cement this film's timeless reputation.

The Boy (Harold Lloyd) leaves Great Bend for the big city vowing to return to marry Mildred once he makes good. Months later, he is rooming with Limpy Bill (Bill Strother) with a lowly fabric salesman job at the DeVore Department Store. He writes constantly to Mildred but is lying to her about his success. One Saturday after closing at 1pm, he runs into an old friend Jim Taylor from Great Bend who is now a city policeman. He gets Bill to play a trick on Jim but it turns out to be another policeman. Bill has to make a run for it by climbing up the side of a building. (That's one crazy stunt.)

Meanwhile back home, the mother thinks that The Boy with so much money in the big city could get up to no good and convinces Mildred to make a surprise visit. The store is wild with a sale as The Boy pretends to be the manager. He is called into the general manager's office following a complaint. Coming out of the office, Mildred assumes that he is the actual general manager. He overhears the general manager offering $1000 to anyone with an original idea to attract a crowd to the store. He offers $500 to Bill to climb the building. The cop suspects it's the same guy who got away from him and stakes out the event. The Boy is forced to start climbing. (There is an even bigger real climb plus a lot of in-camera effects.)

Of course, there is the climb up the building with the clock. It is an iconic scene of the silent movie era. The story works well too. The Boy is a guy who does lie and scheme. He is not strictly a nice boy and in that sense, he reminds me of Mr Bean. However it is the climb up the buildings that is so awe inspiring. First off, there is Bill Strother who plays Limpy Bill. He's a human fly who really climbs the buildings. Then Harold Lloyd made the in-camera effects where he is a couple of stories up. The clock climb is so convincing that sometimes one could forget the effects and truly feel the vertigo. That's the genius of Harold Lloyd.