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Synopsis
A meek Belgian soldier (Harry Langdon) fighting in World War I receives penpal letters and a photo from "Mary Brown", an American girl he has never met. He becomes infatuated with her by long distance. After the war, the young Belgian journeys to America as assistant to a theatrical "strong man", Zandow the Great (Arthur Thalasso). While in America, he searches for Mary Brown... and he finds her, just as word comes that Zandow is incapacitated and the little nebbish must go on stage in his place.
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Alternative Titles
El hombre cañon, L'Athlète incomplet, La grande sparata, Здравенякът, O homem forte, El hombre cañón, Силач, 强人, El forçut
Theatrical
19 Nov 1926
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USA
USA
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Harry Langdon makes Chaplin look like Andrew Dice Clay. This was his most popular movie, but to be honest I think I prefer his more maligned Three’s a Crowd, which is also not very funny but which is a much more extreme experiment in the whole Harry Langdon thing.
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The Strong Man is Frank Capra’s first full-length feature, and he never directed a better scene in which a man smears limburger cheese on his chest.
The man in question is silent star Harry Langdon, once ascendant and now almost as forgotten as Ionaco belts. It’s fitting that one of the movie’s extended gags should involve our star sneezing and applying unguents: Langdon’s willowy movements always suggest someone in the middle stages of some soporific disease.
Your appreciation of Langdon will depend on your tolerance for shuffling and shrugging. Nose-wiping is almost his trademark gesture – a movement at once intimate and un-self-conscious, part of the repertoire he employs, alongside small itches and pant-adjustments, whenever confronted by the terrifying vacancy…
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Real "We've Got The Little Tramp at Home" energy.
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Harry Langdon’s most famous comedy – and Capra’s first film as director – is a fitfully funny silent that hints at greatness but never sustains such lofty ambitions beyond a couple of minutes at a time.
Langdon plays a Belgian Red Cross worker who survives WWI (the scenes set in the trenches are genuinely peculiar, prefiguring the consummate strangeness that was to follow in the notorious Long Pants) and moves to America as a strongman's assistant, all the while searching for the sweet girl whose letters sustained him during the conflict. Quite what was said in the letters, I'm not sure, as the print on the Region 2 DVD is catastrophically bad, while the score simply loops the same four-and-a-half…
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The Strong Man is Capra running before he can walk, in his first feature length film that stars Harry Langdon as Belgian soldier Paul Bergot, stuck in a war where his only solace from the tedium and random scrapes with death are the letters he receives from Mary Brown, a woman living in America.
Within the construct of Bergot's wartime hijinks, receiving letters from Mary Brown in America and Bergot's desire to find her after getting captured and brought to America as part of a travelling circus, Capra leans very heavily into Keaton-esque humour and lets overture after overture, physical gag after gag define Bergot's story that it feels like Capra is overegging the pudding quite a bit in the…
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شخصیت اصلی با اینکه ترکیبی از چارلی چاپلین و استن لورل هستش عملکرد قابل قبولی داره. مرد قوی در چارچوب کمدی های بزن بکوب قرار می گیره و چندتا سکانس عالی هم در این زمینه خلق می کنه اما سبک روایی فیلم نفس ریتم کمدیش رو گرفته و مدت زمانش می تونست نصف اثر کنونی باشه تا با کار خیلی مفرحتری طرف باشیم یا اینکه در بخش ملودرام داستان پختهتر عمل میکرد تا شاهد این ناهمگنی نبودیم.
در کل به عنوان اولین فیلم بلند فرانک کاپرا، اثر متوسطی هستش و ارزش وقت گذاشتن داره.
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Frank Capra's feature film debut was a silent comedy that, in all likelihood, would have been forgotten today if Capra hadn't turned out to be one of the most acclaimed directors of his generation. Bothing here made me even chuckle, the romance doesn't work, and the little story there is is drawn out immensly.
Frank Capra films ranked
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You'd think this film would solely function as a Harry Langdon vehicle, but it also feels surprisingly reflective of the sensibility of director Frank Capra, already apparent in this his first feature. Alongside the unengaging story of Langdon's naive clown falling for blind goodie-two-shoes Mary Brown, we get more interesting Capra-esque discourse about melting pot immigration, about money as vice, and about the virtue of wide eyes whether Langdon's or Jefferson Smith's. The climactic riot features top-notch staging and editing.
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Silent Film Challenge | 2019 | Week 16
I'm just going to say it: I think I like Langdon more than Keaton, and definitely more than Lloyd. (Not more than Chaplin; I'm not an idiot.) This felt like watching slapstick as an art. There's just something so flawless about his timing, and the way he never breaks. And it's still hilarious! I actually laughed like a 3rd grader at a man falling down the stairs!
Obviously, a huge benefit here is that it's directed by Capra, who uses techniques that feel incredibly high-brow in a silent slapstick film. But I also think his involvement grounds the film in an airtight narrative, and that's something very few silent comedies seem to…
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Inauspicious beginnings for Capra, finding himself assigned to direct popular silent comedian Harry Langdon, who had emerged from vaudeville and is bafflingly revered by some as the 'fourth comedy genius' after Chaplin, Keaton and Lloyd, but given this is seemingly his most famous picture I can't exactly say I'd include him in that group and ironically, after giving Capra the boot and taking matters of filmmaking into his own hands, Langdon's career effectively ended and today is barely remembered, whilst his former director's star was just about to rise and keep rising.
There are some terrific skits here—the gag with the jar of cheese is splendidly orchestrated and the final strong man performance is superb in how it builds up…
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This review may contain spoilers. I can handle the truth.
Harry Langdon, an often ignored silent film star gives a great performance in Strong Man which is a film similar to its contemporary silent companions that also carves its own road. Like the film itself Harry acts with a demeanor and mannerisms that call back to Chaplin, Keaton, and Lloyd, though it never feels like he is directly copying them. He is able to occupy his own space and give a compelling, unique, and comedic performance. Capra directs well here and the religious subplot of the film I’m sure was his contribution. Overall, The Strong Man is an entertaining, if not underrated, part of silent cinema.
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Machine gunner Harry Langdon is blasting gas masks off weatherbeaten faces behind Belgian enemy lines in the slapstick theatre of the Great War, when he is abducted by circus strongman Zandow the Great, who nurses a vaudeville-shaped hole in his heart, and brought through immigration customs to the Big Apple. There, he tries to find the inspired author behind anonymous mash notes he received on the battlefield only to become a patsy of society’s criminal flapper/nude model underbelly. Things don’t improve much when they move to Switchblade, U.S.A, a shantytown foaming at the mouth with chorus lines and other degenerate vice-ridden elements. Intertitle hyphens are wantonly abused; at least their semicolons are allotted accurately. Langdon also wears a waffle-shaped thing…
