Summary
In Fred Hibbard's uproarious silent short, the titular equine, Queenie, serves as an irreverent catalyst, quite literally unseating Harry Cornell's protagonist from his slumber with a playful, yet forceful, expulsion from bed. This initial act of equine insubordination sets the tone for a narrative steeped in comedic defiance and identity play. The bewildered Harry, stubbornly adopting the moniker 'Doug' for himself and christening his love interest 'Mary,' embarks on a whimsical, albeit brief, equestrian journey, culminating in a series of audacious, imitative stunts performed alongside his paramour at a neighboring abode. The film's second half, a delightful shift in locale, transports the escalating farce to the high seas aboard a grand steamer. Here, the girl's exasperated father, determined to separate the impetuous duo, orchestrates her departure. Yet, Harry's unwavering resolve to pursue his beloved renders all attempts to impede his embarkation utterly futile. The ensuing pandemonium is masterfully amplified by the collective comedic contributions of the steamer's captain, the vigilant first mate, and the girl's perpetually perturbed father, each figure becoming an unwitting accomplice in a symphony of escalating gags and uproarious misunderstandings that provoke continuous laughter.
Sally the horse wakes up Harry by throwing him out of bed. Harry insists on calling himself "Doug" and his girl "Mary." He takes a long time to get on the horse and then rides only to the next house. Here he and his girl do some stunts in imitation of Mary and Doug. The second half of this amusing comedy takes place on a large steamer. The girl's father insists on sending his daughter away but Harry follows. All efforts to prevent him from embarking prove of no avail. The captain, first mate and father of the girl all help to add to the comedy business and provoke laughter.
Review Excerpt
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In the vibrant tapestry of early 20th-century cinema, where physical comedy reigned supreme and the flicker of celluloid brought stories to life without spoken word, Fred Hibbard’s 1921 short, Horse Sense, gallops forth as a delightful exemplar of the era’s comedic genius. This film, starring the effervescent Harry Sweet, Margaret Cloud, and the remarkably charismatic Queenie the Horse, is more than just a series of gags; it’s a masterclass in silent-era storytelling, a testament to the pow..."
