Bill Slocum You can't go wrong with self-confidence. This was Harold Lloyd's recipe for life, and the same holds true with the characters he plays. The best example of this is Harold Hickory in "The Kid Brother."Harold is the youngest of three sons in the all-male Hickory clan who keep order in the town of Hickoryville. Harold desperately wants the approval of his father and brothers, but can't quite manage it. A new reason to shine comes in the form of beautiful dancer Mary (Jobyna Ralston), who rides into town with a medicine show. When Mary's partners steal the town treasury, it's up to Harold to save the day."The Kid Brother" isn't as iconic as "The Freshman" or "Safety Last," but it's right up there with the first and a good deal better than the other when it comes to showcasing the full range of Lloyd's cinematic talents. There are stunts and thrills and a big scary finish to keep an audience gasping between laughs, but the true beauty of the film is how well it sets up the sentimental side of Harold, which is where movie clowns often fall short.Right away, we are told Harold is a bit of a town joke, born on April 1: "The stork that brought him could hardly fly for laughing." When we first see him, watching his father and brothers easily lift a great trunk, Lloyd's face reflects pride and chagrin. He can't measure up, his eyes tell us."You're too modest, but I like you for it." That's Mary talking to Harold, but it could as well be us for the way we are introduced to him. There are many laughs in this film, but what makes "The Kid Brother" stand up so well 90 years later is the craft of the production.Even if he didn't take a director's credit, giving it instead to his ailing collaborator Ted Wilde and journeyman J. A. Howe, Lloyd's touch is both unmistakable and deft. An opening scene of a derelict boat on a sun-burnished bay not only introduces the dreamy, pastoral quality of the entire film, but sets the scene for where it all comes to an end, desperately and triumphantly, in 90 minutes.That final battle in the "Black Ghost" is a masterpiece of pure cinema, and so is a scene of Harold waving goodbye to Mary by climbing a tree that never seems to stop rising - without the camera ever losing Mary in the ever-deepening background. Likewise, Harold gets maximum use from the intense physiognomy of co-star Constantine Romanoff, who plays the heavy Sandoni, but could just as easily be Nosferatu for the way he is shot. He presents a horrific adversary, yet he's not only overcome but literally becomes a vehicle for Harold's final triumph."The Kid Brother" doesn't have the greatest gags of silent cinema. Harold's rivalry with an annoying neighbor who tries to steal Mary away is more trope than plot point. The crisis of the stolen money is kind of introduced out of left field. But craft and charm count for a lot in comedy, and so does timing, all of which this movie gives you. I never laughed once when I watched the scene where Harold's two brothers are caught out in their nightshirts by a sudden visit from Mary, but I never stopped smiling. It's not just some good gags, but the way the camera moves from room to room, and the way light and shade are used to suggest lurking menace, just before the tables are turned yet again and Harold escapes fraternal punishment.You watch other Harold Lloyd films and get blown away by the skill, the comedic chops, and the acrobatic daring he brought to the screen. "The Kid Brother" has a quieter, subtler power that only builds with repeat viewings. If it's not quite a masterpiece, it shows how a great screen comedy can be made.

kyle-cruse Comedies like this simply are not made anymore. "The Kid Brother" has some of the most excellent timing of any comedy I've ever seen. Everything from the gag involving Lloyd tumbling out of a tree to the scenes with the monkey toward the end are simply hilarious. The plot is as typical as in any Harold Lloyd film, but that doesn't matter. All that makes these films as great as they are is the sense of timing and the brilliance of the comedy. Fans of Lloyd generally consider this to be his greatest film, and I would simply have to agree with that. Some of his other movies may tend to slow down until they get to a hilarious, climactic ending. The difference with this one is that it is much faster-paced and full of great comedy throughout. The gags in this film simply must be seen to realize how funny they are. You will laugh and laugh at this movie. One of the greatest comedies of all time. They just don't make them this funny anymore.**** out of ****

MartinHafer In some ways it's a shame that Harold Lloyd is so associated with the film Safety Last. This is not because it is a bad film (in fact it's one of his better ones) but because it represents a style of film that is based almost completely on physical humor, whereas his best films also included significantly more plot, exceptional cinematography and a lot of heart. Among my favorites is THE KID BROTHER. It is very funny at times, but all the humor takes a back seat to the plot involving Lloyd falling for Jobyna Ralston (as he had in many previous films). The camera work is just unbelievable and just goes to show that just because this is a silent film doesn't mean it wasn't a very artistic film. A funny, sweet, beautiful and memorable film! And, because of it's gorgeous and beautifully crafted scenes, it's highly reminiscent of the best of Chaplin's full-length films, such as CITY LIGHTS. This film certainly has a lot of heart and will shock anyone expecting slapstick.So is THE KID BROTHER or THE FRESHMAN Lloyd's best film--it's hard to say. The FRESHMAN is more enjoyable and funny, but there is an elegance to THE KID BROTHER that help it transcend the genre--making it truly a work of art. As for me, I love them both and recommend you see them soon!

jens-the-picasso-kuestner *SPOILER* This delightful silent comedy with Harold as the kid brother in an all-male family is both moving and entertaining and what is more, very funny!Unlike his two brothers the fragile Harold is not the 'chip off the old block' and therefore regarded as a wimp by his family, the "Hickorys". But he turns out to be very shrewd and smarter than his whole family. In a stunning and breath-taking finale he prevails over a tough con-man and finally is able to make himself respected for his father (Jim, the sheriff). From what I can tell this is Lloyd's all-time best hence his ambitious "glassed character" has fully developed and is absolutely convincing. In contrast to his former "Lonesome Luke"- a rather rough and harddriving character the new bespectacled Harold, now being a believable human being, is charming and extremely hilarious. You cannot refrain yourself from laughing out loud when Harold disguises himself as his father to kid his narrow-minded brothers. Although the feature includes many individually hilarious scenes Lloyd artfully interwoves a thread of pathos, as well. Amazingly romantic scenes are always combined with great gags: Harold falls in love with bitter-sweet Jobyna Ralston (and you probably will, too because that beautiful girl has zing!)and climbs a tree towards the top in order to watch his beloved disappearing. Being lost in thought Harold who is enchanted by the girl's grace finally falls off the tree. Describing sight gags is a lost art hence you are not capable of pointing out the extent of wit and creativity of a certain idea- therefore I better throw in the towel and you should start watching Lloyd's top-notch gags. While one is touched by Harold's romantic love story the real treat is watching the potent and stunning finale which never takes a breath. Incredibly Lloyd is able to provide countless belly-laugh scenes as well as impressing the audience with genuine and deeply moving sentiment. His feature has just about everything one could ask for in a comedy: It is funny, exciting and even romantic. The astonishing carrer of Lloyd represents Hollywood's ideal. He developed a craft and- in my opinion- perfected the art of silent comedies. "Comedy can be manufactured, as television has proved but great comic personalities cannot"- Leonard Maltin. Lloyd's film is unique because Lloyd is unique. Sympathetic that I am to movie buffs who adore comedies of the fifties, sixties, etc. I nevertheless cannot help feeling that early silent comedies are the richest comedies in the cinema's history- worse still they have become mediums of a neglected art. Regarding "The Kid Brother" it is safe to say that this masterpiece with its brightest moments shines like a comic perfection that will glow forever. Let us keep alive his films for generations to come hence he deserves being honored.