Summary
A kinetic exploration of accidental heroism within the stratified urban landscapes of the 1920s, Good Morning centers on a peddler of print—a newspaper boy portrayed with the signature laconic grace of Lloyd Hamilton. When a high-society debutante’s prized canine escapes the gilded confines of her world, it is Hamilton’s character who intervenes, bridging the socio-economic chasm through a singular act of canine retrieval. This serendipitous encounter precipitates an invitation to a charity bazaar, an environment where the protagonist’s rough-hewn charm clashes spectacularly with the rigid artifice of the elite. The narrative functions as a comedic crucible, testing the adaptability of the common man against the backdrop of philanthropic vanity. Through a series of increasingly frantic vignettes, the film dissects the performative nature of charity, positioning the newspaper boy not merely as a guest, but as an inadvertent disruptor of the status quo.
Synopsis
A newspaper boy who rescues a debutante's runaway dog and who is consequently rewarded by being invited to a society bazaar for charity is the trend of the story.
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