Summary
In this 1924 silent vignette, Jimmy Jump—portrayed with the characteristic ebullience of Charley Chase—navigates the precarious intersection of proletarian labor and high-society romanticism. The narrative catalyst is a mechanical struggle involving a convertible’s recalcitrant top, an obstacle Jimmy resolves with an easy gallantry that earns him a dinner invitation. The exchange of calling cards serves as the film’s central MacGuffin, a fragile slip of paper that bridges the gap between Jimmy’s humble shoe-shining station and the opulent world of his employer. When his benefactor misinterprets the card as evidence of a betrayal by his own fiancée, the film descends into a choreographed labyrinth of domestic misunderstandings. The eventual revelation—that Jimmy’s paramour is merely the fiancée’s domestic aide—dismantles the class tension, replacing it with a symmetrical resolution that celebrates the universal pursuit of companionship across the social strata of jazz-age America.
Synopsis
While Jimmy Jump is having a shine, he sees a girl struggling to put the top of her convertible. He helps her and they make a date for dinner, and exchange calling cards. Jimmy tells his boss, who fits him up with clothes and money. Jimmy leaves him the girl's card, and when Jimmy's boss sees his fiancee's name on the card, complications ensue, but he learns at last that Jimmy's "date" is his girl's maid and there are wedding bells for four.
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