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Introduce Me (1925): The Comedy Cult Classic You Need to See | Dbcult

Introduce Me

Name: Introduce Me
Director: George Crone
Released: 1925
Cast: Anne Cornwall, Lee Shumway, Wade Boteler, Robert Ober, E.J. Ratcliffe

1925George CroneIMDb: /10

Synopsis

Director

George Crone

Cast

Wade Boteler

Anne Cornwall

Lee Shumway

Robert Ober

Editor's Choice Analysis

Introduce Me Review: Is This Douglas MacLean Comedy a Silent Peak?

Is this film worth watching?Short answer: Yes, but only if you appreciate the frantic, sweaty energy of a man completely out of his depth. This is not the stoic, architectural comedy of Buster Keaton; it is the wide-eyed, panic-driven slapstick that Douglas MacLean perfected during the mid-20s.This film is for audience...

Archivist John

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Filmography

Movies by George Crone

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Never Say Die

1924 · IMDb —

Reno

1930 · IMDb 7.1

What a Man

1930 · IMDb —

Así es la vida

1930 · IMDb —

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La donna e l'uomo

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Strike Me Lucky

1934IMDb7.1

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Battle of the Cult

Intelligence Comparison

Comparing the cinematic DNA and archive impact of two defining moments in cult history.

1925

Introduce Me

George Crone

ScoreCult MeterScore

50%Popularity50%

#735Archive Rank#471

1920

Mary's Ankle

Lloyd Ingraham

Analyze Head-to-Head

Knowledge Base

Introduce Me FAQ

The movie Introduce Me was directed by George Crone.

Introduce Me was released in the year 1925.

Introduce Me is a movie from United States.

Introduce Me is categorised as Comedy in the cult cinema archive at Dbcult.

Introduce Me features Wade Boteler, Anne Cornwall, Lee Shumway, Robert Ober.

The screenplay for Introduce Me was written by Raymond Cannon, Wade Boteler.

If you enjoy Introduce Me, you might also like Mary's Ankle (1920), An Amateur Devil (1920), The Deadlier Sex (1920), Kids Is Kids (1920).

Yes, Introduce Me (1925) is featured in the Dbcult archive as a curated cult cinema title, known for its Comedy qualities.

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Summary

In the vibrant sprawl of 1920s Paris, Jimmy Clark, a man of more charm than sense, finds his heart hijacked by a chance encounter with Betty Perry at a train station. What begins as a desperate attempt to embed himself in the Perry family circle—marked by a disastrously explosive cigar gifted to Betty's father—spirals into a high-altitude nightmare of identity theft. Through a series of luggage-based mishaps, Jimmy is mistaken for the world-renowned mountaineer Roberts. Thrust into the Swiss Alps with gear he doesn't understand and a fear of heights he cannot hide, Jimmy is forced to maintain the charade when the real Roberts decides to treat the imposter's plight as a private joke. The farce reaches a literal peak as Jimmy, pursued by a disgruntled bear and dangling by a frayed rope, transforms into a literal human snowball, hurtling down the mountainside in a chaotic bid for survival and romantic validation.

Synopsis

Jimmy Clark and Algy Baker, two Americans in Paris, see John Perry and his daughter, Betty, at the train station. Jimmy, falling in love with Betty at first sight, makes the Perrys' acquaintance, inadvertently giving the elder Perry a loaded cigar and winning Betty's heart. A porter mistakes Jimmy for a famous mountain climber named Roberts and puts him on a trail with Roberts' gear. Arriving in the Alps, Jimmy is received as the noted climber, and, when the real Roberts appears, he laughingly backs up Jimmy's impersonation. Deathly afraid of heights, Jimmy is forced to climb a mountain, but, with some help from an unfriendly bear, he gets to the top. He lets himself partway down by a rope, which the bear then gnaws in two; Jimmy falls, gathering snow until he is a human snowball, bounding from crag to crag. He is then reunited with Betty, who tries to stop Jimmy's descent and becomes likewise entangled in the snowball.

Review Excerpt

"Is this film worth watching?Short answer: Yes, but only if you appreciate the frantic, sweaty energy of a man completely out of his depth. This is not the stoic, architectural comedy of Buster Keaton; it is the wide-eyed, panic-driven slapstick that Douglas MacLean perfected during the mid-20s.This film is for audiences who love the 'imposter' trope pushed to its absolute breaking point and those who enjoy the specific vintage charm of 1920s American tourists behaving badly in Europe. It is NOT ..."

Archivist John

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